CAMP HESS KRAMER INSTITUTE
October 30 – November 1, 2009
Beverly Barr
Cumbia Semana……………………..Latin America……………………..1
Esa Einai……………………………..Israel………………………………2
Margot’s Valsen……………………..Norway……………………………4
Mazurca Di Sant’Andieu…………….Italy/France……………………….5
Snoshti Minah, Kate………………….Bulgaria…………………………. 6
Valse de l’Amitie…………………….Quebec……………………………8
Billy Burke
Drmes iz Marijanaca…………………Croatia……………………………9
Drmes iz Pokuplja……………………Croatia…………………………...11
Kolo na Jednu Stranu…………………Serbia……………………………12
Logovac………………………………Serbia……………………….……14
Moj Dragane………………………….Croatia…………………………...16
Sremsko Kolo…………………………Serbia……………………………17
Joyce Clyde
Al je ljepo……………………………Baranja/Hungary…...…………….19
Harmanlijska Racenica………………Bulgaria………………………….21
Pravo Cepelarsko Horo………………Bulgaria………………………….23
Gary Diggs
Balkan Rumba………………………..Romania………………………...25
Baraka………………………………..Israel…………………………….26
David Melech Yisrael………………..Israel…………………………….28
Gang of Four…………………………Contra…………………………...29
Kachol………………………………..Irish/Israel……………………….30
Zarah………………………………….Israel………………………….…31
Richard Duree
D’hammerschmiedsg’selln………...….Germany…………….…………32.5
La Cachucha…………………………. Mexican California…………….33
Vals Jota………………………………Mexican California…………….35
Richard Julian
Dorset Four Hand Reel……………England…………………………37
Koster C’hoad……………………..Brittany…………………………39
Suzanne Rocca-Butler
Galoppa…………………………….Italy…………………………… 41
Haide, Vruta Mea…………………..Romania (Aroman)…………….43
Liljano Mome………………………Bulgaria………………………..45
Valle e Qemalit……………………..Albania………………………...47
Zensko za Raka……………………..Macedonia……………………..49
Lu Sham
Beale Street Blues………………...Vintage…………………………..50
Numero Cinco…………………….Latin……………………………..51
One Step Tango…………………..Vintage…………………………..52
Skaters Tango Waltz……………...Vintage…………………………..53
Tango Simple Mixer………………Vintage………………………….54
Tango Simple (Alternate)…………Vintage………………………….55
Loui Tucker
Banu Le Ha’Ir Et Ha’Ir………….Israel……………………………...56
Damat Halayi……………………Turkey…………………………….58
Debka Kurdish…………………...Kurdish Communities……………59
Hachol Yizkor……………………Israel……………………………..60
Robin Ddiog……………………..Wales……………………………..63
Zichron Varod……………………Israel……………………………..64
Presented by Folk Dance Federation of California, South, Inc.
ABBREVIATIONS USED IN THIS
SYLLABUS
beg
bk
bkwd or bwd
CCW
cpl(s)
ct(s)
ctr
CW
diag
ft
ftwk
fwd
H
ht
L
LOD
M
meas
opp
pl
PDB
pos
ptr(s)
R
RLOD
sdwd or swd
shldr
T-pos (arms)
tog
twd
V-pos (hands)
W
W-pos (hands
wt
x
begin or beginning
back
backward
counter-clockwise
couple(s)
count
center
clockwise
diagonal
ft
footwork
forward
hand(s)
height
left
line of direction
man, men, man’s
measure
opposite
place
pas de basque
position
partner(s)
right
reverse line of direction
sideward
shoulder
arms joined in shoulder hold
together
toward
hands joined down
women, woman, women’s
hands joined at shldr ht, usually slightly fwd
weight
across
CUMBIA SEMANA
Choreographer: Ira Weisburd
Music: Fin De Semana. 48 Count. Line Dance.
Part I.
(R Rocking Chair, R Side Mambo Step; L Rocking Chair, L Side Mambo Step)
1&2&
3&4
5&6&7&8
9-16
Step forward on R, recover back on L, Step back on R, recover forward on L
Step R to R, Recover L on L, Step close R to L, hold
Repeat Part I. (1-4) with opposite footwork and direction.
Repeat Part I. (1-8).
Part II.
(Side, together, ½ turn R; Side, together, side, touch; Paddle turn to L w/R to face
forward again)
1&2&
3&4&
5&6&7&8
Step R to R, Step close L to R, make ½ turn R on R, touch L beside R
Step L to L, Step close R to L, Step L to L, touch R beside L
Step on R, make 1/8 turn L on L, Step on R, make 1/8 turn L on L, Step on R,
make 1/8 turn L on L, Step on R, make 1/8 turn L on L
Repeat Part II. (1-8) with opposite footwork & direction.
9-16
Part III.
(Double Rocking Chair diagonally to the L corner; Double Rocking Chair
diagonally to the R corner; Cross, Cross, Back, Together; Cross, Cross, Back,
Together)
1&2&
(Facing L forward corner) Step forward on R, recover back on L, Step back on R,
recover forward on L
Step forward on R, recover back on L, step R to R (to face R forward corner)
Repeat Part III. (1-4) with L foot.
Step R across L, Step L across R, Step back on R, Step L in place.
Repeat Part III. (9-12).
3&4
5&6&7&8
9-12
13-16
REPEAT DANCE.
Presented by Beverly Barr
Camp Hess Kramer Institute
October 30 – November 1, 2009
1
ESA EINAI
(I Will Raise My Eyes)
Dance:
Music:
Formation:
1-2
3-8
9-12
13-16
17-20
21-24
25-26
27-28
29-32
1-2
3-6
7-8
9-12
13-16
17-20
21-22
23-24
25-28
29-32
33-34
35-42
43-48
Ira Weisburd
121st Psalm
Meter: 4/4
Circle facing center with hands joined.
PART I – Face center with hands joined and elbows bent.
Step R to R with bent knee, step L behind R.
Rpt. 1-2 three more times.
Step R to R, turn ½ turn to L with L,R,L and face out of circle.
Tcherkessiya R
R to R, L to L and pivot to L to face center (17-18), R to R, L behind (19-20)
step R to R and pivot to R to face out, step L to L, step R behind L, L to L and
pivot
to L to face center
Sway R,L.
R across L, back on L in place.
Full turn to Rt. on line of circle with 4 steps beg. with R.
REPEAT PART I
PART II – Face CCW
Step R fwd and hold rising slightly on ball of Rt. foot.
Mayim step to Rt. beg. with L across R.
Step L across Rt. and hold.
Sway R,L, step R across L and face CW, hold.
Step back on L and face center, R to R, L across R, hold.
R to R and face out, L to L, R behind L, L to L and face center.
R to R, L behind
Sway R,L and face CW
Fwd R,L,R and hold rising slightly on Rt. and raising arms.
Step L bwd lowering arms and face center, R to R, L across.
Sway R,L.
Rpt. 1-8
Rpt. 17-22
REPEAT DANCE
REPEAT PART I, PART II – counts 1-32
REPEAT PART I, PART II – cts. 1-6
Move fwd to center with L,R,L raising arms high.
Instructions notated by Honey Goldfein
Presented by Beverly Barr
Camp Hess Kramer Institute
October 30 – November 1, 2009
2
Esa Enai (I Lift Up My Eyes)
Music:
Lyrics:
::Esa eynai el heharim
Meayin meayin yavo
ezri::
Ezri meim Hashem
ose shamayim va'arets
Shlomo Carlebach
Liturgy
I lift up my eyes to the hills
Whence comes my help?
My help is from the Lord, Creator of heaven and
earth
3
Margot’s Valsen
(Norway)
Svein Olav Solli, Borghild Reitan (now Solli) and Margot Sollie introduced this dance at Scandia Camp
Mendocino 1997. They said that the dance is quite popular in the Røros area and is referred to there as
Margots valsen. I believe this dance is referred to as Kalle P’s vals in Sweden. The dance mixes at the
beginning. Dance one time through the dance sequence with your original partner, progress for the next
repetition.
Pronunciation: MAHR-gohts VAHLS-ehn. Margot is a W’s name. The dance name means Margot’s
waltz
Music:
3/4 meter Any Scandinavian waltz with 8-measure phrases
CD: At the Jonsson’s, Traditional dance tunes from central Sweden. Bands 3 or 4
Formation:
Couples in a circle facing LOD/CCW around the dance space
Steps and
Styling:
Inside hands joined at shoulder level.
Ballroom, equilateral, or shoulder/shoulder-blade position for closed position waltz.
(See “Getting Primed.”)
Pattern
Meas
INTRODUCTION. CD Band 3, 2 meas intro. CD Band 4, no intro or wait 8 meas.
DANCE
1-2
3-4
5-6
7-8
9-10
11-12
13-16
Waltz fwd facing LOD, open position, inside hands held shldr level.
Turn twd each other to face RLOD, waltz 2 more meas progressing in LOD; end
facing ptr, M’s back to ctr.
Ptrs waltz twd each other changing place, M passing under W’s R, M’s L arms. End
facing each other, M facing the ctr.
Waltz changing places, M passing under W’s R, M’s L arms; end with M’s back to
ctr.
M turns W once CW with inside hands joined.
M turns W once CW with outside hands (M L, W R) joined. M comes around his ptr
to end with his back to LOD at the end of meas 12.
Couple waltz CW with ballroom, shoulder/shoulder-blade, or equilateral hold
progressing in LOD. M starts back on L, W fwd on R. Open out at the end to face
LOD with inside hands joined
Dance repeats until the music ends except that beginning with the second time through the dance, on
meas 1-2, M moves fwd to the next W in LOD, while W dances almost on the spot waiting for new ptr
to arrive.
Presented by Beverly Barr
Camp Hess Kramer Institute
October 30 - November 1, 2009
4
Mazurca Di Sant’Andieu
(Italy/France)
This dance is a mazurka that originated in the south of France during the Occitan Kingdom and is now
danced all over Piedmont. The song to this dance was written by Charloun Rieu, pioneer of the modern
provençal literature and poetry, who covered on foot all the Alps to spread the provençal language and
to delight with his songs “The Shepherds and The Peasants.”
Pronunciation:
mah-ZOOR-kah dee SAHNT ahn-DEE-uh
Music:
3/4 meter
Formation:
Couples in large circle facing LOD, W to R of M. M takes W L hand in his L and W R
hand in his R placing his R arm at W shoulders. [This is a “varsouvienne”hold with L
hands held a little lower than R hands, especially in Fig I.]
Steps:
Waltz step: Step forward on L slightly to L (ct 1), step on R close to L (ct 2), step
forward on L slightly to L (ct 3). Repeat with opposite footwork and direction
Meas
16 meas
Pattern
INTRODUCTION No action.
I.
CD: Danze Italiane Vol. 2, Band 3
FIGURE I (WALTZ)
1-2
Both beginning with L foot dance 2 Waltz steps fwd in LOD.
3-4
M dances fwd 2 Waltz steps starting with L in LOD, while W turns to R under R arm,
with 2 waltz steps. Rejoin L hands.
5-16
Repeat pattern of meas. 1-4 three more times.
II.
CHORUS (MAZURCA)
1
Step on L foot in front (ct 1), step on R foot back (ct 2), small hop on R (ct3), lifting L
leg in front.
2
Men: moving to R and passing behind partner, step on L crossed behind R (ct 1), step
on R to R (ct 2), step on L in front of R (ct 3) .
Women: moving to L and passing in front of partner, step on L to L (ct 1), step on R
close to L (ct 2), step on L to L (ct 3) .
3-4
Repeat pattern of meas 1-2 with opposite footwork and direction.
5-16
Repeat pattern of meas 1-4 three more times.
Presented by Beverly Barr
Camp Hess Kramer Institute
October 30 - November 1, 2009
5
SNOSHTI MINAH, KATE
(Pirin, Bulgaria)
SHIRTO is a very popular dance all over the Pirin mountains. Snoshti minah, Kate is the
name of the song Iliana Bozhanova recorded for this dance. At the Laguna Folkdance Festival of
2009, she presented 4 figures, which were variations from different places she had seen people
dancing SHIRTO.
Rhythm:
Music:
Formation:
7/8 b – SQQ
CD IHB #12 - FIRE, Track 4
mixed lines with hands held basically in W position
Introduction – 18 meas.
Figure 1 – 4 meas.
Meas.1 - facing center
1. Lift on L ft
+ Step on R ft to R side
2. Step on L ft behind R ft
3. Step on R ft to R side
Meas.2 – facing LOD
1. Lift on R ft
+ Step on L ft across R ft
2. Step on R ft fwd to LOD
3. Step on L ft fwd to LOD
Meas.3 – facing center
1. Lift on L ft
+ Step on R ft to R side
2. Step on L ft across R ft
3. Step on R ft behind L ft
Meas.4 – facing center
1. Lift on R ft
+ Step on L ft next to R ft
2. Step on R ft across L ft
3. Step on L ft behind R ft
Arms: In W position
Arms: Go down to V position
Arms: Go back to W position
Figure 2 – Suchi – 4 meas.
Meas.1,2 – same as meas.1,2 from Figure 1
Meas.3 – facing center
1. Lift on L ft
+ Step on R ft across L ft
2. Step on L ft to L side
3. Step on R ft behind L ft
Meas.4 – same as Meas.4 from Figure 1
Arms: The same as in Figure 1
Figure 3 – Nazad – 4 meas.
Arms: The same as in Figure 1
Meas.1,2 – same as Meas.1,2 from Figure 1
Meas.3 – same as Meas.1, but going bkwd
Meas.4 – same as Meas.2, but going fwd-diagonally left
6
Snoshti Minah, Kate -- Continued
Figure 4 – Varti – 4 meas.
Arms: Only in W position
It is the same as Figure 1, but you make full turn right on Meas 3 and dance in place on Meas 4
Sequence:
You can dance only one or all the figures in a sequence, depending on the leader’s commands.
Notes by Iliana Hristova Bozhanova
Presented by Beverly Barr
Camp Hess Kramer Institute
October 30 – November 1, 2009
7
Valse de l’Amitié
(French Canada)
Adaptation of a French-Canadian waltz mixer by France Bourque-Moreau.
Transation:
Friendship Waltz
Pronunciation: VAHLS duh lah-mee-tee-AY
Music:
3/4 meter
CD: Yves & France Moreau Stockton Folk Dance Camp 2009, Band 10
Formation:
Partners facing each other on a single circle.
Pattern
Meas
1-8
INTRODUCTION
I.
1-2
3-4
Instrumental music. No action.
GRAND R AND L
Joining R hand with ptr, take one waltz step fwd and one waltz step back.
Take two waltz steps fwd moving on to the next person (passing R shldr), presenting
L hand.
Repeat meas 1-4, starting with L hand.
5-16
Note: Figure 1 is done 4 times (R hand, L hand, R hand, L hand).
II.
1-2
3-4
5-6
7-8
9-16
SLIDING TO CENTER AND BACK
With new ptr, join two hands and take two large sliding steps to the ctr (inside ft).
Take two large sliding steps away from ctr (outside ft).
Balance (step-lift, step-lift) inside and outside.
Let go of hands and do a complete turn to inside circle (three steps).
Repeat meas 1-8 in opp direction.
Repeat dance from beginning.
Presented by Beverly Barr
Camp Hess Kramer Institute
October 30 - November 1, 2009
8
DRMES IZ MARIJANACA
Slavonija, Croatia
Slavonia is the richest agricultural region (known as the bread basket) in
Croatia. For this reason, folk traditions have remained unchanged for
centuries. The wealth of this region is reflected in the dances, songs and
costumes. The village of Marijanci is in northeastern Slavonia
(Osijek-Baranja County near the city of Valpovo). Most of the dances
in Slavonia surround the musicians, who are in the center of a circle.
Musical accompaniment features the bagpipe (gajde) and tambura
(samica), or a full tambura orchestra. Slavonian people dance to
celebrate any occasion - weddings, harvest, church celebrations, or any other daily occurrence
that merits a celebration.
TRANSLATION:
Shaking dance from the Village of Marijanci
PRONUNCIATION: DRR-mesh Eez Mah-ree-ah nuts ah
MUSIC:
CD: Zeljko Jergan’s “Dance Journey” track #8
FORMATION:
Closed circle, alternating M & W. Face ctr with R arm bent and across
body at waist, L arm resting on neighbor’s R arm.
STEPS:
Drmesš #1 (side-close to L & R):
Meas 1: Moving sdwd L - step L beside R with bounce (ct 1); close R beside L
with bounce (ct 2); bounce on both in place, most of wt on L (ct &).
(S, Q, Q)
Use opp ftwk when moving sdwd R.
Drmesš #2 (sdwd L):
Meas 1: Step L to L, leave R in place and bounce on both ft - most of wt on L
(ct 1); bounce on both - wt evenly distributed (ct 2); bounce on L
most of wt on L (ct &).
Meas 2: Step R beside L, bounce on both (ct 1); bounce on both again (ct 2);
bounce on both, stamp R heel (ct &).
Šaranje (step-hop fwd and bkwd; step-hop in RLOD)
STYLE:
The drmes (shaking dance) is done flat-footed, with very small steps and
movements. Smaller movements are most stylistically correct.
The šaranje (step-hop in and out sequence) is done with a down accent.
---------------------------------------------------------------------------------------------------------------METER: 2/4
PATTERN
----------------------------------------------------------------------------------------------------------------
INTRDUCTION:
1-2
Wait
MUSIC ONE:
1-2
FIG. I: SIDE- CLOSE
Facing ctr – Step L to L (ct 1); Close R to L (ct 2);
Repeat cts 1, 2
9
Drmes iz Marijanaca -- Continued
3-4
Repeat meas 1-2 with opp ftwk and direction
1
FIG. II: SINGLE DRMEŠ (L and R)
Do #1 Drmes once to L
2
Repeat meas 1 with opp ftwk and direction
3-4
Repeat meas 1-2
1-2
FIG. III: DOUBLE DRMEŠ
Do 2 #1 Drmes steps sdwd L
3-4
Repeat meas 1-2 with opp ftwk and direction
5
Do #1 Drmes diag. L fwd, body lean slightly bkwd
6
Do #1 Drmes diag. L bkwd, body lean slightly fwd
7-8
Repeat meas 5-6 with opp ftwk and direction
MUSIC TWO:
1
FIG. I: LEAPS
Facing ctr - small leap L to L as R moves close to L ankle (ct 1); small leap R to R as L
moves close to R ankle (ct 2).
2
Bounce on R as L heel taps fwd on floor(ct 1); bounce on R and tap L heel again(ct &);
step on full L ft where it touched (ct 2); step R back to place (ct &).
3-8
Repeat meas 1-2, 3 more times. (4 in all)
1-2
FIG. II: ŠARANJE (STEP-HOP IN RLOD)
Facing L (RLOD) - do 2 step-hops fwd, beg L. Turn to face R (LOD) on last hop.
3-4
Facing R (LOD) - do 2 step-hops bkwd, beg L. Turn to face L (RLOD) on last hop.
5-8
Repeat meas 1-4 one more time and face ctr
Repeat from the beginning (3 times in all)
Dance notes by Zeljko Jergan and Fusae Senzaki
Presented by Billy Burke
Camp Hess Kramer Institute
October 30 – November 1, 2009
10
DRMEŠ IZ POKUPLJA
(Croatia)
The dance is also called Pokuplje or Posavina. Almost every tamburica orchestra in the
homeland as well as in the U.S. plays this shaking-dance melody to demonstrate the virtuosity
required of the musicians. It was learned by Billy Burke in the late ‘70’s from Nena Sokþic who
was a lead dancer and researcher of Lado for more than 25 years. The dance was presented by
Billy at the 1985 Santa Barbara Symposium.
PRONUNCIATION: dr-mesh iz POH-kup-ljah
RECORD:
AMAN LP-102, Side 1, Band 7
FORMATION:
A mixed line joined in front basket hold. Line moves to L.
Meas
Pattern
No Introduction
1
FIG. I: WALK
Turning lower body slightly L of ctr, but keeping shldrs twd ctr, step R in RLOD
(ct 1); reach and step L to L on ball of ft (ct 2). This should produce a smooth
walking movement.
2-16
Repeat meas 1 (16 in all).
1
FIG. II: DRMEŠ
Facing ctr, in place, step on R (ct 1); hop on R (ct &); land on R (ct 2); step
slightly L on L (ct &).
2-16
Repeat meas 1 (16 in all)
FIG. III: DRMEŠ VARIANT
Beg R, do 4 small light stamping steps on cts 1,&,2,& of every 4th meas of Fig. II.
There is no body twist in this Fig.
SEQUENCE:
16 meas walk; 16 meas drmeš; 26 meas walk;
16 meas drmeš; 26 meas walk; 16 meas walk
Presented by Billy Burke
Camp Hess Kramer Institute
October 30 – November 1, 2009
11
KOLO NA JEDNU STRANU
TRANSLATION
One Way Kolo.
SOURCE
Dance from Vojvodina Srem region, introduced explained and
demonstrated by Dobrivoje Putnik.
BACKGROUND
Dance from Vojvodina region, danced at Serbian gathering (prela, moba)
and Patron Saint Day celebrations (Slava).
MUSIC
Dances of Vojvodina FA-46 – Tambura orchestra of Sonja Marinkovic
FORMATION
Open circle. (Hands same as Keleruj „kolo“) open circle, or semicircle.
Mans hands behind woman’s, women hands on man’s shoulder. Second
fast part hands down (V).
METER/RHYTHM
4/4
STEPS/STYLE
Small quick steps and step-hops.
DANCE – MOVEMENT DESCRIPTION
Measure
Count_________________________________________________________
I. SIDE STEP (strong jiggle on all steps)
1
2
3
4
5
6
7
1
2
3
4
5
6
7
&
8
8
Facing center, step sideward R, on Rft.
Close and step on Lft, next to Rft.
Step on Rft, sideward R.
Close and touch Lft, next to the Rft, do not take weight.
Suddenly reversing direction, step sideward L on Lft.
Suddenly reversing direction again, step sideward R on Rft to continue R.
Lft close next to the Rft.
Rft take weight, next to the Lft.
Step on Lft, in place.
12
Kolo Na Jednu Stranu—Continued
II. FASTER WITH “CROSSING” STEPS
1
2
3
4
5
6
7
8
1
Facing and moving diag. R, step fwd on Rft, in this direction.
&
Hop on Rft.
2
Continuing in this direction, step fwd on Lft, in front of Rft.
&
Hop on Lft.
3
Turning to face center, step on Rft, in place.
&
Hop on Rft, in place.
4
Facing center and moving backward out of circle, step backward on Lft.
&
Hop on Lft.
“TROKORAK” in place (R-L-R)
1
Facing center, step on Rft in place.
2
Cross and step on Lft, in front of Rft.
3
Step on Rft, in place.
&
Hop on Rft, in place.
“TROKORAK” in place (L-R-L)
1
Facing center, step on Lft in place.
2
Cross and step on Rft, in front of Lft.
3
Step on Lft, in place.
&
Hop on Lft, in place.
Presented by Nikola Krþadinac
Presented by Billy Burke
Camp Hess Kramer Institute
October 30 – November 1, 2009
13
LOGOVAC
TRANSLATION
“The Spare Horse”
SOURCE
Dance from Baþka, introduced by Sister Jankovic and explained and
demonstrated by Dobrivoje Putnik
BACKGROUND
Trio dance from Vojvodina. Originally from the Baþka region, but spread
throughout Vojvodina and was even known among American Banaüani who
danced it up to the 1950s.
MUSIC
Dances of Vojvodina FA-46 – FKUD Stanko Paunovic orchestra
FORMATION
One man with two women with one woman on either side of man. Women place
the hand nearest the man on his nearest shoulder. They place their outer hands
on their outside hips where the man grasps them with his outstretched hands from
around in back of their waists.
METER/RHYTHM
4/4
STEPS/STYLE Small steps, step-hops
DANCE – MOVEMENT DESCRIPTION
Measure
Count_________________________________________________________
I. BASIC STEP (forward and back),
1
2
3
4
5-8
9-16
1
Facing center, step forward on Rft,
&
Hop on Rft, in place,
2
Step in front of Rft on Lft, forward,
&
Hop on Lft, in place,
“TROKORAK” in place crossing feet (R-L-R)
1
Facing center, step on Rft in front of Lft.
2
Step on Lft, in place.
3
Step on Rft, in front of Lft in place.
&
Hop on Rft, in place
Repeat action 1-4, opp/ftwk, going backwards,
Repeat action 9-16,
II. STEP IN PLACE
1
1
&
Step on the Rft, in place,
Hop on Rft,
14
Logovac -- Continued
2
3-6
7
8
9-16
2
&
Step on the Lft, in place,
Hop on Lft,
Repeat 1-2, four times,
“TROKORAK” in place (R-L-R)
1
Facing center, step on Rft in place.
2
Step on Lft, next to the Rft.
3
Step on Rft, in place.
&
Hop on Rft, in place
Repeat action 1-4, opp/ftwk/dir,
NOTE. Variations -
Teraj, kume, logova,
Preko toga korova,
Daleko je Meirovica,
Gde se kuva kiselica,
Još je dalje Sent-Ivan,
Gde se ljube svaki dan!
1. W spinning around, men holds one hand,
2. M going around (couple) with W on left first and with W on
right, holding hands (polka style).
3. M holding one hand of each W going around man, on front
and back (pretzel).
SONG WORDS
Best man, drive the spare horse,
over the weedy fields,
it's a long way to Mitrovica,
where they make sour wine,
and further still to Sent-Ivan,
where they make love every day!
Metla nogu na potegu,
Pa sve vice: "Neüu!"
A na kuma namiguje,
Da se kola krecu.
[The bride] put her foot up on the footboard,
And shouted, "I don't want to go!"
Then she winked at the best man to,
Get the wagon going.
Jeli küeri, jel' to taj,
Hulja i beüar?
Jeste, majko, on je taj,
Al' nije beüar!
Tell me, daughter, is he the one,
That scoundrel, and bachelor?
Yes, mother, he's the one,
But he's not a bachelor!
Presented by Nikola Krþadinac
Presented by Billy Burke
Camp Hess Kramer Institute
October 30 – November 1, 2009
15
MOJ DRAGANE
Origin:
This dance, when translated means “My Sweetheart,” and is a maiden’s walking
dance from Lika, Croatia. Musical accompaniment is the dangubica, a kind of
tambura.
Source:
Zeljko Jergan
Style:
Heavy, earthy walking steps with a slight sway of the hips during turns. The
sway is subtle and should not be overdone. Hands are in V position. On the
turns, W have back of wrists on hips, M tuck thumbs into belt.
Formation:
Traditionally the dance begins with an open circle, and then closes as dance
continues. For recreational purposes the dance is done in a closed circle.
Rhythm: 6/8 meter
Introduction: 4 measures – no action (8 counts)
Meas
1-2
3-8
1
2
3-4
5-8
1
2
3-4
5-8
FIG. 1 – walk in RLOD (instrumental)
Facing and moving to L, walk L,R,L; step BKWD (rock) on R
REPEAT meas 1-2 three more times (4 times total)
FIG. 2 – (vocal)
Facing and moving to L, walk LR
Facing center, step on L as R flicks low in front of L; step on R as L flicks low in
front of R
Releasing hands, turn once in place to L. L,R,L,R with sways. M thumbs in belt,
W hands on hips
Rejoin hands – REPEAT meas 1-4, but do NOT rejoin hands at the end.
FIG. 3
With hands on hips or in belts, facing and moving to L, walk L,R.
Turn to face center, step on L and make a small low circle with R; quickly step on
R as L flicks low in front of R.
REPEAT meas 3-4 of Fig. 2.
REPEAT meas 1-4.
Presented by Billy Burke
Camp Hess Kramer Institute
October 30 – November 1, 2009
16
SREMSKO KOLO
TRANSLATION
Circle dance from Srem.
SOURCE
Dance from Srem, introduced by the Jankovic Sisters and explained by
Dobrivoje Putnik.
BACKGROUND
Traditional dance from Srem, danced originally by men only, spread
throughout region and is danced at most Serbian events i.e. Weddings and
Patron Saint Day celebrations (Slava). Sometimes men dance holding
shoulders and women holding hands.
MUSIC
Dances of Vojvodina FA–46 (FKUD Sonja Marinkovic orchestra)
FORMATION
Open or closed circle. Hands same as Keleruj in „kolo“ section, or men
use the “T” hold and women hold hands separately in “V” position..
METER/RHYTHM
4/4
STEPS/STYLE
Small steps with twists and shakes.
DANCE – MOVEMENT DESCRIPTION
Measure
Count_________________________________________________________
I. SMALL STEPS TO THE SIDE
1-4
Facing center, moving gradually sideward to R, four small steps,
Rft, Lft close, Rft, Lft shake in front.
Repeat measures 1-4 to L, four small steps sideward L, Lft, Rft close, Lft,
5–8
Rft
shake in front.
Repeat measures 1-8
Repeat measures 1-16
9-16
1-16
II. PIGEON TOE - DOUBLE BOUNCE” (SLOW-QUICK-QUICK)
1
2
3-8
1
2
3
Toes together, push heels out, bending knees slightly, (S)
Heels together, bounce in place, (Q)
Heels together, bounce in place, (Q)
Repeat measure 1-2 three times, (Q)
17
Sremsko Kolo – Continued
III. “QUICK PIGEON TOES”
9
1
2
10-16
Toes together heels out, (quick bounce steps).
Heels in (quick).
Repeat measure 9 seven times.
IV. CROSSING STEPS (QUICK-SLOW)
1
2
3
4
1
&
2
&
3
&
4
&
5-8
9-16
Facing center, a quick step sideward R on ball, on Rft, (Q)
Cross and step on Lft in front Rft traveling R, (S)
A quick step sideward R on ball, on Rft, (Q)
Cross and step on Lft in front Rft traveling R, (S)
A quick step sideward R on ball, on Rft, (Q)
Cross and step on Lft in front Rft traveling R, (S)
Step sideward on Rft (Drop)
Hold.
Repeat measure 1-4 opp/ftwk/dir.
Repeat action 1-8
V. CROSS STEPS WITH HOLD
1
2
3
4
5-8
9-16
1
&
2
&
3
&
4
Facing center, a quick step sideward R on ball, on Rft, (Q)
Cross and step on Lft in front Rft traveling R, (S)
A quick step sideward R on ball, on Rft, (Q)
Cross and step on Lft in front Rft traveling R, (S)
DROP step on Rft, extending Lft in front in air to shake.
Continue shaking Lft in air.
Continue shaking Lft in air.
Repeat measure 1-4 opp/ftwk/dir.
Repeat action 1-8
Presented by Billy Burke
Camp Hess Kramer Institute
October 30 – November 1, 2009
18
Al je ljepo
(Baranja, Hungary)
Bosnian Croats (Bošnjaci) migrated to the Hungarian part of the Baranja region near the town of Pécs
3HüXKDWWKHHQGRIWKHth century. Despite the long period of their being among other nationalities,
they have survived and kept their speech patterns as well as their wealth of all folk forms, thanks to the
village elders. Their rich and unique folk songs reflect daily life of the people - work in the house, in the
farmyard, in the field, the joys and the sorrows of everyday life. Željko was researching around the city
of Pécs in the summer of 1992.
Translation:
It is really beautiful (in our area).
Pronunciation: ahl YEH lee-yeh-POH
CD: Baština Hrvatskog Sela by Otrov, Band 3.
Music:
2/4 meter
Formation:
Closed circle, alternating M and W, facing ctr.
Steps and
Styling:
Walk: L, R …, 2 steps per meas.
Grapevine: Moving in RLOD (L); step on L to L (ct 1); step on R behind L
(ct &); step on L to L (ct 2) step on R across L (ct &).
Buzz to L: Step on L to L on ball of ft (ct1); step R across L (ct &); 2 buzz per meas.
Rocking out & in: Shift wt back on R (ct 1); shift wt fwd on L (ct 2). Double bounce on
each ft. Earthy walking steps, smooth buzz and grape-vine steps.
Hands:
Verse 1: Hands joined in V-pos.
Verse 2: Escort pos: R arm bent and across body at waist, L arm resting on neighbor’s
R arm.
Verse 3: Front basket hold
Meas
Music: 2/4 meter
1 meas
Pattern
INTRODUCTION
I.
1
2-3
4-5
6
7-10
11
12-16
VERSE ONE
No action. Hands joined in V-pos.
Facing L of ctr and moving RLOD (L) – walk L, R, L, R fwd
Facing twd ctr walk out with L and in with R / twice – the circle moves in RLOD (L).
Walking Grapevine.
Buzz step to L—8 steps.
Walking Grapevine.
Repeat meas 7-11 one more time.
PAUSE (2 meas): 2 walking steps fwd L, R (cts 1,2); sway L, R (cts 1,2). Hands in
Escort hold.
II.
1-3
4-5
”
VERSE TWO
Facing L of ctr and moving RLOD (L), walk L, R, L, R, L, R fwd (total 6 steps).
Facing twd ctr rocking out & in: L, R, L, R (double bounce on each ft).
19
Al je ljepo—continued
6
7-16
Walking Grapevine.
Repeat Fig I, meas 7-14.
PAUSE (2 meas): 2 walking steps fwd L, R (cts 1, 2); sway L, R (cts 1, 2). Hands in
front basket hold.
III. VERSE THREE
1-16
Repeat Fig II.
AL JE LJEPO Lyrics
Al je ljepo u našime kraju
Ej zvje-zde sjaju i cure pjevaju
Dikin pendzer u naš pendžer gledi
EMSUVWRPPLþHQHVPLMHGDYLþH
Presented by Joyce Clyde
Camp Hess Kramer Institute
October 30 - November 1, 2009
It’s really beautiful in our area
When the stars are shining and girls are singing
My sweetheart’s window is across from mine
He’s motioning for me to come to him
20
+DUPDQOLMVND5kþHQLFD
(Bulgaria)
Line UkþHQLFD from the region around Harmanli in Eastern Thrace. Observed by Yves Moreau at folk
festival in Haskovo, June 1966. Dance can be done to any basic 8-meas Thracian UkþHQLFD tune.
Translation:
5kþHQLFDIURPWKHUHJLRQRI+DUPDQOL
Pronunciation: hahr-mahn-LEE-skah ruh-che-NEE-tsah
CD: Yves Moreau Stockton Folk Dance Camp 2009, Band 4
Music:
7/8 meter (QQS)
Formation:
Mixed open circle. Hands in W-pos. Wt on L, face ctr.
Styling:
Earthy, slight knee bend.
Meas
1-16
1
Pattern
INTRODUCTION Instrumental music. Start with song.
I. BASIC FIGURE
Step on R to R, arms move to R at 45-degree angle (ct 1); pause (ct 2); step on L behind R,
arms move L to starting pos (ct 3).
2
Repeat meas 1.
3
Step on R in place with marked knee bend (ct 1); transfer wt lightly onto ball of L ft (ct 2);
step again on R with marked knee bend (ct 3).
4
Repeat meas 3 with opp ftwk.
5
Large step fwd on R, arms swinging fwd and down (ct 1); L ft begins to cross in front of R
(ct 2); slight lift on R (ct 3).
6
Step on L in front of R, arms begin to swing fwd (ct 1); pause (ct 2); slight lift on L bringing
arms to W-pos (ct 3).
7-8
Repeat meas 3-4 but moving slightly bkwd
9-12
Repeat meas 5-8.
13
Large step onto R fwd and slightly RLOD, swinging arms fwd (ct 1); arms continue
swinging back (ct 2); slight lift onto R (ct 3).
14
Large step onto L still moving in same direction as in meas 13, arms swinging fwd (ct 1);
arms continue fwd to W-pos (ct 2); slight lift onto L (ct 3).
15
Let go of neighbors’ hands, pivot CCW to face LOD and take 3 light running steps fwd R, L,
R (cts 1,2,3).
16
Continue with three small running steps (L, R, L) in LOD ending up facing ctr again
(cts1,2,3).
21
+DUPDQOLMVND5kþHQLFD—continued
Note: During meas 15-16, hands are free to perform smooth flowing movements: close
fingers and clench fists, palms inward (ct 1); pause (ct 2); open fingers, unclench fist, palms
out (ct 3).
Repeat dance from beginning.
+$50$1/,-6.$5Æý(1,&$/\ULFV
(Bulgaria-Trakia)
Stojne, Stojne, bjala Stojne
Zaljubila bjala Stojna
Zaljubila vakâl Ivan
9DNkO,YDQYDNkORYþDU
Stojna, fair Stojna
Fell in love
with dark-eyed Ivan
Ivan, the shepherd
Dokato se zaljubili
Toj pri stado ne otide (2)
Stadoto si do obidi
While they fell in love
Ivan did not go to his flock
To look after them
ýHRWLGHYDNkO,YDQ
Stadoto si do obidi
(2)
1DRYþDULKOMDEGDQRVL
Ivan finally decided to go
take care of his flock
and bring bread to his colleagues
.XþHWDJRQHSXVQDOL
Ne pusnali, zalali go
Stadoto si razprâsnalo
2YþDULJR]DUMXNDOL
The dogs did not let him in
and barked
The flock scattered
The other shepherds swore at him
ýHL]YDGLPHGHQNDYDO
Ta zasviri žalno, milno
7DRVPLULNXþHWDWD
Ta zavârna sivo stado
Ivan took out his kaval
and began to play sweetly and sadly
He calmed down the dogs
And brought back the grey flock
Presented by Joyce Clyde
Camp Hess Kramer Institute
October 30 - November 1, 2009
22
3UDYRýHSHODUVNR+RUR
(Bulgaria)
A variation on the basic Pravo Rodopsko Horo from the UHJLRQDURXQGWKHWRZQRIýHSHODUH2EVHUYHG
by Yves Moreau at the Rožen Pee Festival in July 1972. The dance has a typical 10-meas structure
which is typical of many Rhodope folk songs. The song used here is Pena e seno kosila.
Translation:
Pravo from WKHUHJLRQRIýHSHODUH.
Pronunciation: PRAH-voh cheh-peh-LAHR-skoh hoh-ROH
Music:
2/4 meter
CD: Yves Moreau Stockton Folk Dance Camp 2009, Band 3
Formation:
Mixed open circle. Escort hold: L hand in front of body at belt level, L elbow bent.
Hook R arm on R-hand person’s L arm. Dancers should be close to neighbors. Face
slightly R of ctr. Wt on L.
Styling:
Soft and solemn.
Meas
1-10
Pattern
INTRODUCTION Instrumental music.
I. BASIC PATTERN
1
Moving LOD, step on R (ct 1); step on L across R (ct 2).
2
Step on R (ct 1); pause (ct 2).
3
Step on L across R (ct 1); pause (ct 2).
4
Turning to face ctr, take 2 small steps bkwd, R, L (cts 1,2).
5
Step fwd on R (ct 1); pause (ct 2).
6
Step fwd on L (ct 1); pause (ct 2).
7
Step fwd on R, coming up onto ball of R ft (ct 1); bring L ft slightly up behind R calf
(ct 2).
8
Take one step bkwd on L (ct 1); pause (ct 2).
9
Take one step bkwd on R (ct 1); pause (ct 2).
10
Take small step on L slightly L (ct 1); pause (ct 2).
Dance repeats from beginning.
Presented by Joyce Clyde
Camp Hess Kramer Institute
October 30 - November 1, 2009
23
Pravo ýHSHODUVNR—continued
35$92ý(3(/$56.2/\ULFV
(Bulgaria-Rhodopes)
Pena je seno kosila
Kosila i sâbirala (2)
6QHMLQRPODGRUDWDMþH
Pena was cutting hay
Cutting it and gathering it
With her young helper
5DWDMþHGXPDQD3HQD
3HQROMRþRUEDGåLMNROMR
Kato si seno sâberem
Kade štem Peno da legnem?
The young helper said to Pena:
Hey Pena, my boss...
When we’re finished piling hay
Where will we lie down to sleep?
3HQDUDWDMþHGXPDãH
5DWDMþHPODGRJOXSDYR
Kato si seno sâberem
Ti šte da legneš vâr kopa
Pena said to her helper:
Hey helper, young fool
When we’re through working
You’ll lie down on top of the pile
Ti šte da legneš vâr kopa
Je šte da legna pod kopa
Dorde sa zora zazori
Dvamina šte sa sâberem
You’ll lie down on top of the pile
And I’ll lie down under the pile
By the time dawn comes
The two of us will have gathered...
24
Balkan Rumba
Novelty dance loosely based on footwork of “Calushari”: men dancing “Calush” (The Little
Horse)
Source: Daniel Sandu, Albuquerque spring workshop 2006
Meter: 4/4
Style: Loose
Formation: Individuals scattered over dance floor. Dancers can simply move right and left,
back and forth (basic version, described below), or move in any direction, turning and interacting
with other dancers (more interesting version).
Introduction: almost eight measures; the cowbell is on the beat; when the bass joins in there are
four more measures to go.
Meas
1
2
3, 4
Part 1
Moving LOD step R (1); light heel stamp L next to R (2); step L slightly back
(&); still moving LOD step R fwd (3); light heel stamp L next to R (4).
Repeat prev meas, but facing and moving toward RLOD with opp ftwk
Repeat meas 1 and 2
1
2
3, 4
5-8
Part 2
Repeat meas 1, Part 1, beats 1 and 2, (1, 2&); Repeat previous two beats (3, 4&).
Repeat meas 1, Part 1.
Repeat previous two meas, but with opp ftwk and dir
Repeat previous four meas
1
2
3, 4
5-8
1
2
3, 4
Part 3
Moving LOD, knees bent slightly take four small tight steps, RLRL (1&, 2&);
Repeat beats 3, 4& of meas 1, part 2 (3, 4&).
Repeat meas 2, part 2.
Repeat previous two meas, opp ftwk and dir.
Repeat previous four meas
Part 4
Repeat meas 1, Part 1
Moving RLOD, knees bent slightly take four small tight steps, LRLR (1&, 2&);
step L fwd (3); stamp R next to L (4).
Repeat previous two meas
Notes by Gary Diggs, July 2006
Presented by Gary Diggs
Camp Hess Kramer Institute
October 30 – November 1, 2009
25
Baraka (“Blessing”)
Dance: Shmulik Gov-Ari
Music: group Sfatayim
Formation: line or circle
Notes: ‘baraka’ is the Arabic form of bracha – blessing – and is often used as a greeting or wish
by Israelis whose families emigrated from Arabic countries.
Abbreviations: S = one beat; Q = ½ beat; LOD = line of direction of dance; RLOD = reverse
LOD; CW = clockwise; CCW = counterCW; twd = toward; fwd = forward; ftwk = footwork;
opp = opposite; dir = direction; L = step left, or just “left”, depending on context; R = step right,
right foot, or just “right”; frnt = crosses in front of
Intro: 16 measures (2/4 meter)
Meas
Part A, start by facing LOD, low hand hold where possible
1
2
3
4
5
13 – 16
17 – 32
R, L, moving LOD
Facing center, leap sideways R (S); Moving RLOD: side L; R frnt L (QQ)
still facing center, side L, close R with wt. (SS)
side L; close R with wt; side L; stamp R, no wt, next to L; (QQQQ)
fall sideways onto R; rock back sideways onto L (in place); close R to L with wt;
(SQQ)
still facing center step L across R; stamp R next L, no wt; fall sideways R; (QQS);
(Note: the last beat of meas 5 and and first half beat of meas 6 is a left Yemenite)
a left Yemenite followed by a stamp of R, no wt, next to L; (QQQQ)
twisting towards RLOD but still moving LOD, step R with a bent knee
while dragging L with a straight leg; straightening close L, with wt, next to R;
(SS)
facing LOD, step fwd R; standing very erect, touch L fwd; (SS)
step back onto L; bending forward at the waist with straight back, touch R back;
(SS)
two walking steps in LOD, R, L; (SS)
Note: the torso on each beat of meas 9 thru 11 twists slightly (CW, CCW, etc) in
opposition (contra-lateral motion) to direction of foot movement, especially on 2nd
beat of meas 10 where right shoulder drops down
moving LOD, hop L; step fwd R; step fwd L; (QQS)
Note: on hop, free R leg is straight and fwd, toe extending downward
repeat meas 9 – 12
repeat meas 1 – 16
1
2
3–4
Part B
facing LOD, step fwd R; lift L in front of R, slight hop, bent knee, toe down; (SS)
back Yemenite, L,R,L; (QQS)
facing center, move LOD, grapevine: side R; L behind R; side R; L frnt R; (SSSS)
6
7
8
9
10
11
12
26
Baraka -- Continued
5
6
7–8
9
10
11
12
13 – 14
15 – 16
1–2
3–4
5–8
9 – 10
11 – 12
13 – 16
still facing center, moving RLOD: R frnt L; side L; R frnt L; (QQS)
back yemenite, L,R,L; (QQS)
basketball turn: step R twd center, pivoting CCW to face out; L in place; step R
going out pivoting back CCW twd center; L in place; (SSSS)
starting with R, two debka steps twds center (QQQQ)
continue with one R debka step twd center; leap fwd L; stamp R next to L
(QQQQ)
note: R debka step: bounce on L while touching R heel in front of L toe with R
toe extending up; point R toe down as you make small leap onto R in front of L;
(QQ)
facing center, moving right: side R; L behind: R; side R; stamp L next to R:
QQQQ
repeat meas 11, opp ftwk and dir
three steps away from center: R, L, R; (SSS); leap in place onto L; stamp R next
to L; (QQ). Shoulders roll backwards as if doing the back stroke (sans arms) on
each step going back, starting with the right shoulder; (SSSS)
repeat meas 11 – 12
Part C
facing center, side R; L behind R; side R; rock back onto L; (SSSS)
still facing center, moving L: step on ball of R across L; side L;
repeat previous two steps two more times; end R frnt L; (QQQQQQS); during this
meas elbows are held at sides with forearms extended fwd and level, palms up;
then palms down; palms up; palms down; (SSSS)
repeat meas 1 – 4, except with opp ftwk and dir, but same hand movements
R to right; rock back onto L in place; step R in front of L; step L in place; (SSSS);
at the same time the right arm extends to the side, palm fwd; swing right arm in an
arc in front of chest; bring and place right hand on chest over heart; place left
hand on top of right hand; (SSSS)
making a full CW turn in place, pivoting on R and on ball of L next to and
slightly behind R: step R,L,R,L,R,L,R; (QQQQQQS); arms and hands are as in
meas 3 – 4
repeat meas 9 – 12, exept with opp ftwk and dir, but same hand movements
Notes: Gary Diggs, October 2009
Presented by Gary Diggs
Camp Hess Kramer Institute
October 30 – November 1, 2009
27
David Melech Yisrael (“David, King of Israel”)
Dance: Shmulik Gov-Ari
Formation: Circle
Learned from Shmulik Gov-Ari at 2009 NM August Camp
Counts
Part 1, facing CCW, Chassidic hold, own L hand on own L shoulder, palm up and
own R hand down on L hand of person in front
1–2
3–4
5–8
9 – 16
17 – 20
21 – 24
25 – 32
33 – 64
Touch R heel fwd, bend L knee slightly, lifting R
Repeat 1 – 2
R double step fwd (RLR, qqs)
Repeat 1 – 8 with opposite footwork
Face center, high hold, lean to R onto R, pause, lean L, pause
Grapevine in LOD: start side R, L cross in front
R and L Yemenite
Repeat 1 – 32
Part 2, facing center to start, high hold
1–2
3–4
5–8
9 – 10
11 – 12
13 – 16
17 – 18
19 – 20
21 – 24
25 – 27
29 – 32
33 – 64
Moving towards center, step R crossing in front of L
Continue towards center with step L crossing in front of R
Balance fwd onto R, balance back on L, balance fwd on R, pause
Stepping L fwd across R (as in 3 – 4), move arms from shoulder level slightly
forward and up
Stepping R fwd across L, move hands and arms fwd and down
Balance fwd onto L, balance back on R, step L back, pause; hands and arms come
up, elbows fwd, forearms up, then arms back down
Facing LOD and letting go of hands, step sideways R out of center while bringing
arms and hands opening to side at chest level
continue away from center stepping L across R while crossing arms in front
precipitously and snapping fingers
Repeat 17 – 20
Turning ¾ CW, step R,L,R, pause, ending facing center
Facing center, L back Yemenite, L,R,L
Repeat 1 – 32 (omit this repeat first time thru dance)
Notes: Gary Diggs, October 2009
Presented by Gary Diggs
Camp Hess Kramer Institute
October 30 – November 1, 2009
28
Gang of Four
Dance: Gene Hubert
Becket formation (couples facing couples, W on M's right, contra lines)
Notes: A contra line consists of two lines facing. The whole set is the set of everyone in
both lines; in promenading or circling the whole set think of it as a very oblong circle.
Minor sets are sets of four persons (two couples) determined by "hand four-ing" from the
top of the whole set. One meas = two counts = two steps (generally).
Meas
1–8
9 – 16
17 – 24
25 – 32
Minor sets circle left three quarters; swing your neighbor
Guys, your neighbor will be in front of you after you've circled left;
After swing, end facing couples LOD around whole set with W on M's
right; inactive couples – couples that are at either end of whole set having
not had another couple to circle with – become active again by joining in
the swing
Everyone Promenade the whole set (four counts/steps); W cast down to
M below (four counts); and swing that M (eight counts)
All join hands, whole set circles left (eight counts) until you are
opposite your partner, then Long lines go forward and back (eight
counts; four in, four out)
W allemande right once and a half (ladies, you allemande with the one
your partner swung, the woman to his right, diagonally to your left,
important) (eight counts); swing your own (eight counts); At this point, if
you are a couple at either end of the whole set without another couple to
circle left with, you are inactive for eight counts; then, as noted above, you
join in the swing and subsequent promenade, becoming active again.
Presented by Gary Diggs
Camp Hess Kramer Institute
October 30 – November 1, 2009
29
Kachol (“Blue”)
Dance: Shmulik Gov-Ari
Formation: circle, down handhold when possible
Note: each part repeats once
Meas
Part 1
1
facing center, step sideways R, no handhold, arms shoulder height to side;
Moving LOD, step L across R as you cross arms in front of chest snapping
Fingers; (SS)
right Yemenite (QQS)
leap in place or slightly back onto L extending R leg fwd toe down;
leap in place or slightly back onto R extending L leg fwd toe down; (SS)
back left Yemenite; (QQS)
still facing center, moving to left: step R across L; step side L; step R
across L; (QQS)
repeat meas 5, opp ftwk and dir
facing LOD, two walking steps: R, L; (SS)
facing center, grapevine: side R; L behind R; side R; L in front of R;
(QQQQ)
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
Part 2
step R in RLOD pivoting CW to end facing away from center;
bounce twice on R; (SQQ);
step L in RLOD pivoting CCW to end facing twd center; bounce twice L;
(SQQ)
moving twd center, step: R, L, R (QQS)
moving away from center, step: L, R, L; (SQQ)
right Yemenite (QQS)
left Yemenite (QQS)
basketball turn: step R twd center pivoting CCW to face out; step L in
place; step R away from center pivoting CCW to face in; step L in place;
(QQQQ)
facing center, leap in place onto R kicking L fwd, toe pointed down; leap
in place onto L kicking R fwd, toe pointed down; slap R fwd; (QQS)
Notes: Gary Diggs, October, 2009
Presented by Gary Diggs
Camp Hess Kramer Institute
October 30 – November 1, 2009
30
Zarah
Israeli couple dance
Dance: Naftaly Kadosh (learned from Don Schillinger, August Camp 2004)
Music: Ze’ev Nechama & Tamir Kalinsky
Meter: 4/4
Formation: Couples facing in a circle, man facing out, woman facing in
Steps and styling: cha cha; 75% of the time it’s “one, two, cha-cha, cha”.
Men and women are always on opposite feet; all “L, R” notation is for leader. Woman’s
movement is either opposite or mirror image of man’s throughout dance. The dance is a
“getting to know you” dance; first part you don’t touch, second part hold hands; third part
you are in each other’s arms.
Pattern: Each part repeats; entire dance (minus introduction) repeats verbatim
Introduction: 10 measures of music; no action
Part 1 in all meas in first part steps are SSQQS; For all turns 360 or more, “wind up”
(twist in opp dir of turn) on previous beat; Use arms and upper body freely; no physical
contact with partner in Part 1. W generally faces toward and moves with M. On full
turns, W always turns opposite (if he turns CW she turns CCW) of M (she doesn’t do the
half turns).
meas.
1
M: Rock fwd on L (1); back on R (2); 2 turn CCW to face and move toward center,
LR,L (3&, 4). W: no half turn (on beat 2).
2
M: Full turn CW, R,L, moving towards center (1,2); RL, R, moving towards center (3&,
4). W: moves to center following ptr, turns CCW.
3
M: Stepping L (toward center), half turn CW to face out (and to face ptr) (1); moving out
step R (2); continue moving out with LR, L (3&, 4). W: step in on (1), then back on (2),
still facing center (and ptr, no half turn).
4
M: Full turn CW, R, L, moving away from center (1,2); RL, R, facing out and moving
away from center (3&, 4). W: moves away from center turning CCW full turn (1, 2);
Facing M steps back away from center (3&, 4).
Note: in meas 5-8, W mirrors M exactly
5
M: Facing out rock sideways LOD on L, RLOD on R (1, 2); facing and moving RLOD,
step LR, L (3&, 4). Begin CCW turn on beat 4.
6
M: Still moving RLOD, complete 1&1/4 CCW turn, R, L, to end facing partner (1, 2);
moving RLOD, step side, together, side or RL, R (3&, 4)
7
M: step L over R, turning to face RLOD (1); Rock back (in LOD) onto R to face ptr (2);
move in LOD and turn CCW to face LOD, LR, L (3&, 4).
8
M: Moving in LOD, turn 1&1/4 CW to end almost facing ptr. R,L,RL,R (1, 2, 3&, 4)
31
Zarah -- continued
Part 2 note: rhythm varies from “SSQQS” (as in part 1) on every measure .
meas.
1
M: Facing out and facing ptr, and holding both her hands, step fwd L (1); stepping back
towards center on R, lead W fwd around himself to his left and towards center (2); back
her towards center, LR, L (3&, 4). W: steps opposite M as she moves around him (CCW)
and ends being backed towards center. Note: M, hands joined with W, gives W strong
lead (pull) toward center; M&W maintain a strong connection.
2
M: backs her to center. M and W are facing*, he holds both her hands, R, L (1, 2). Back
her one more step (3), then Rock back, L, leading her fwd and away from center(4).
3
M: Continues leading her out of center and around himself CW, RL, R (QQS), so that she
ends facing in (and him) (1&, 2); facing out (and her) rock fwd and back (L, R) (3, 4).
4
M: Lead her to step fwd toward center as he steps back, L, (1); Moving out, R, L, R, lead
her in a full underarm (his left arm, her right) turn CW (2, 3, 4).
5
M: Facing out, holding both her hands, rock sideways LOD onto L (1); rock RLOD onto
R (2); moving and facing slightly RLOD, step LR, L (3&, 4). W: mirror M exactly
6
M & W: repeat previous meas but with opposite ftwk and direction.
7&8 M: Still holding her hands, Rock LOD onto L (1); rock RLOD onto R (2); rock back onto
L, R next to L, L, all moving sideways LOD while leading W to turn CW under his right
arm (3, 4, 1); M&W: repeat previous three beats but opp feet and dir. (2, 3, 4).
Part 3 Dance closer. Note: W dances exactly opposite M in Part 3.
meas.
1
M: Holding partner in closed position, M facing out: step fwd L; Rock back onto R (2);
backing into center, step LR, L (3&, 4). W: opposite of M.
2
M: step sideways in RLOD, “step,close, step,close, R,L,R,L(1,2,3,4); W: mirror M.
3&4 Repeat two previous measures but with opp ftwk and dir.
Notes by Gary Diggs, 10-11-05
Presented by Gary Diggs
Camp Hess Kramer Institute
October 30 – November 1, 2009
32
D'HAMMERSCHMIEDSG'SELLN
(Germany)
D'Hammerschmiedsg'selln (duh-HARM-mer-schmeets-gah-zell-en) means "Blacksmith's apprentice." It was
introduced at the 1964 University of the Pacific Folk Dance Camp by Huig Hofman, a leader in the Belgian
folk dance field.
RECORDS:
Folkraft 148x45B; Folkraft LP-5; Tanz SP 23 053B (slow down). 3/4 meter
FORMATION: 4 M in small square anywhere in dance area: Ml face M3; M2 face M4, In modern times, it is
often done by cpls: sometimes each M clapping with his ptr; sometimes the 2 M clapping
together and the 2 W clapping together.
STEPS and
STYLING:
Clap Pattern (takes 2 meas, or 6 cts, and is so described for
clarity): Clap hands on own thighs (ct 1); on own rib cage (ct 2); both hands in front of chest
(ct 3); clap R hand with opp (ct 4); clap L hand with opp (ct 5); clap both hands with opp (ct 6).
Styling calls for a good knee bend on ct 1 (keep back straight); lean back on cts 2,3; reach fwd,
bending at waist, to clap hands with opp on cts 4,5,6.
Step-hop (takes 1 meas): A strong step fwd on L (ct 1); hold (ct 2);
hop on L, raising R leg fwd with knee bent and sole of ft parallel
to floor (ct 3). Step alternates.
MUSIC ¾
PATTERN
Measures
2 notes and INTRODUCTION
No action.
4 meas
I.. CLAP PATTERN
A
1-16
M1 do Clap Pattern with opp person, beg on ct 1 of meas 1
(8 Clap Patterns).
M2 wait 1 meas then do Clap Pattern with opp person, beg on
ct 1 of meas 2 (7;1 Clap Patterns).
II. STEP-HOPS IN SMALL CIRCLE
B
1-8
All join hands and beg L, circle CW with 8 Step-hops, swinging joined hands vigorously in
and out (in twd ctr on 1st meas, out from ctr on 2nd meas, etc.).
32.5
9-16
Beg L, circle CCW with 8 Step-hops, swinging hands as before.
III. CLAP PATTERN
A
1-16
Repeat Fig I.
IV. STEP-HOPS WITH RIGHT HAND MILL
B
1-8
Form R hand mill (each grasps R wrist of dancer to the L with R hand) and beg L, circle
CW with 8 Step-hops. Fist of L hand is on hip. Maintain a good lean away from ctr.
9-16
Form L hand mill and, beg L circle CCW with 8 Step-hops.
V. CLAP PATTERN
A
1-16
Repeat Fig I.
VI. STEP-HOPS IN BIG CIRCLE
B
1-8
Dancers in all sets quickly form one big circle around the room and circle CW with 8 Stephops. Beg L and swing hands in and out as before.
9-16
Beg L, all circle CCW with 8 Step-hops
Alternate ending I:
Originally this dance was traditionally performed by M only and during the final 16 meas they would
quickly find a woman sitting on the sidelines and waltz with her.
Alternate ending II:
When mixed cpls do the dance M waltz last 16 meas with their ptr or they may even steal the other
woman.
Description revised 1982.
Presented by Richard Duree
Camp Hess Kramer Institute
October 30 - November 1, 2009
32.75
LA CACHUCHA
(Early California)
Traditionally the second dance of the fandango, performed by women. A young man may dance
it with his intended, following behind her. ‘La Cachucha’ is a form of endearment, meaning
“little hat”; the Californios spend most of their days outdoors and the hat was a favored piece of
apparel. W dance with a fan in the right hand and hold the skirt with the L hand. R arm and hand
use the fan to embellish the dance. Body attitude is elegant, refined and demure.
This choreography was arranged for fandango performance.
RHYTHM: ¾
Meas Figure
1
2-4
5-8
9-16
1
2
3
4
5-8
9-16
1,2
3,4
5-8
9-16
1 – Side Draw
Step R on R ft & flex waist low L, R arm raising fan overhead (c 1); hold (c 2); step on L
ft with heel next to R instep & straighten body slightly (c 3). Fan rotates inward and out
following R index finger.
Repeat movement of Meas 1 three more times; on fourth time, touch L ft slightly fwd
without weight.
Repeat movement of Meas 1-4 to L on opposite footwork. Waist flexes to R with fan held
low R and L hand holding skirt high L.
Repeat movement of Meas 1-8.
2 – Diagonal Walk
Holding fan in front of chest, walk RLR R fwd diag (c 1-3).
Touch ball of L ft L fwd diag & flex waist L fwd (c 1); hold (c 2); step in place on L ft &
lift body erect (c 3).
Repeat movement of Meas 2 to R.
Repeat movement of Meas 2; hold on last beat without weight on L ft.
Repeat movement of Meas 1-4, moving bkwd to original place on opposite footwork.
Repeat movement of Meas 1-8, moving L fwd diag and back to original place.
3 – Step-Swing & Side-Draw
This figure may be danced moving in R & L diagonals downstage or passing around a
partner in a face-to-face, back-to-back diamond-shaped figure.
Holding fan R side high, step R on R ft (c 1); swing L leg fwd low (c 2); bounce on R ft
(c 3); step L on L ft (c 4); swing R leg fwd low (c 5); bounce on L ft (c 6).
Step R fwd diag on R ft as in Figure 1 with waist flexed to L (c 1); hold (c 2); step on L ft
next to R ft with L heel at R instep (c 3); step R on R ft (c 4); hold (c 5); touch ball of L ft
fwd (c 6).
Repeat movement of Meas 1-4 with opposite direction and footwork, except in stepclose-step-touch movement, waist is flexed low R as in Figure 1.
Repeat movement of Meas 1-8.
NOTE: If dancing this figure around a partner, always turn to face partner on Meas 1,2;
passing movement on Meas 3,4 will alternate face-to-face moving to R and back-to-back
moving to L.
33
LA CACHUCHA
Page 2
4 – Balance and Spin
1
Step R on R ft and swing fan to R (c 1); step behind R ft on ball of L ft (c 2); step in place
on R ft (c 3).
2
Turn ¼ turn L and step fwd on L ft, bringing fan downward in an arc in front of body (c
1); spin CCW on ball of L ft, swinging fan upward to assist in the spin (c 2); step in place
on R ft (c 3).
3
Bring fan to ‘neutral position’ in front of chest & step L on L ft (c 1); hold (c 2); draw R
ft to L ft without weight (c 3).
4
Repeat Step-Draw to R.
5-8
Repeat movement of Meas 1-4 on opposite footwork.
9-16 Repeat movement of Meas 1-8.
1,2
3
4
5-8
9-16
5 – Double Balance & Spin
Repeat balance figure of Figure 4 R & L sides, swinging fan R & L in downward arc.
Step and spin R as in Figure 4, swinging fan down & up to R to assist in spin.
Step R on R ft (c 1); hold (c 2); touch ball of L ft fwd (c 3).
Repeat movement of Meas 1-4 on opposite footwork.
Repeat movement of Meas 1-8.
6 – Repeat Figure 1 (Side-Draw)
NOTE: Finish in pose with free foot pointed forward and fan in front of the chest.
Notated by Richard Duree / April, 2006
Presented by Richard Duree
Camp Hess Kramer Institute
October 30 – November 1, 2009
34
VALS JOTA
(Mexican California)
Set dance for couples from the Los Angeles area of Mexican California. Danced with restrained elegance and
dignity. Properly danced by the elders, but was danced by younger dancers.
Formation: Parallel lines of three or four couples facing three couples, W on M R; hands joined R to R, L to L
with L arm on top. If more than one set, at least two sets should be placed end-to-end.
Rhythm: Quick 3/4, almost a 3/8 or 6/8
Basic step: A two-step waltz: step fwd L ft with accent (ct 1); step on R ft beside L ft (ct 2); step fwd on L ft
(ct 3). Rpt step on opp ftwk. HINT: It matters not which foot begins.
Meas
Figure
1
2
3
4
5
6
7
8
INTRODUCTION – Bows (8 meas-performed only at beginning of dance)
Couples in place without hands joined.
No movement.
W step twd ctr on R ft & turn ¼ turn L; M turn ¼ turn R to face partner.
All step bkwd from ptr on L ft.
All bend L knee in formal bow.
Shift weight fwd to R ft & join L hands.
M leads W to him; W steps fwd on L ft beside M, turning ¼ turn R to face center.
Close R ft to L ft & join R hands under L hands.
No movement.
1-4
Interlude (4 meas – precedes every figure)
4 Rocking Steps fwd L, back R, fwd L, back R. (NOTE: Interlude proceeds every figure)
FIGURE 1 - Cradle
A - Advance and Retire
1-4
Cpls move fwd twd opp cpl with 3 basic steps; turn ½ turn twd ptr to face out, W on L.
5-8
Cpls move fwd away from opp cpl & turn 2 twd ptr to face in.
9-16 Cpls rpt figure of meas 1-8.
B - Woman Around / Cpls Wheel
1-6
M in place with 6 basic steps; lead W CCW fwd around M & spin CCW in place on Meas 3
& 4; continue to M R side, (Meas 5,6), L arms arched overhead.
7,8
Cpls advance to opp cpl.
C - Cradle.
1-4
Release R hands & join with opp person; raise arms high & W move under arms face-to-face
to opp W position; lower arms to center of “cradle”.
5-8
Circle CW 6 basic steps.
9-12 Circle CCW 4 basic steps.
13-16 Raise arms; W return to orig position, facing ptr with L hands joined, W face CW, M face
CCW in preparation for Grand Chain.
D - Grand Chain
1-24 Cpls chain around set begin L hand to return to home position. Each hand change will
require two measures.
NOTE: The selected recording has three phrases of 8 meas each for the Grand Chain. If a set
has 4 couples, home position will be reached after two phrases; join L hands with partner and
repeat “Woman Around” figure, ending in Home position.
If the set has 6 couples, home position will be reached at the end of the three phrases.
35
Repeat Interlude
FIGURE 2 – Link Arms
Rpt Fig 1, Part A&B: Advance & Retire, W around M, couples approach opp cpl. All release
hands & M turn back-to-back.; link arms in circle, M facing out; W facing in.
1-4
Part C - Turn circle CW.
5-8
Release R elbow & all turn ½ turn CCW in place to reform circle, W facing out; link arms.
9-12 Turn circle CCW.
13-16 Release R elbows; M turn W CCW in varsouviana position to begin Chain.
1-24 Part D - Repeat Chain as in Figure 1.
1-24
FIGURE 3 – Basket
1-24 Rpt Fig 1, Part A&B: Advance & Retire, W around M; couples approach opp cpl. All release
hands.
1-4
Part C - M face & join hands across, raise joined hands over W heads and down behind W
back; W join hands across and raise joined hands over M heads and down behind M back.
This figure should be completed quickly.
5-8
Turn circle CW.
9-12 Couples release hands and reform the basket.
13-16 Turn circle CCW to home position; release Basket and join partners’ L hand in position to
begin Grand Chain.
1-24 Part D - Grand Chain
Repeat Interlude
1
FIGURE 3 – SERPENTINE (Number of measures will vary)
First M leads across circle to pass under opposite couple’s joined hands; release partner’s
hand & separate around circle to rejoin hands in original position; all follow to reform circle.
2
Second M leads across circle to pass under opp cpl joined hands; raise hand joined with ptr,
turn away from ptr to create arch and lead circle under arch to reform circle.
3
Third M leads across circle to pass under opp cpl joined hands, continues moving fwd until
circle has reformed, all facing out; raise L arm & turn ½ turn R to face into circle &
lead circle in single file under arch until circle reforms.
4
in
Fourth M release hands with partner & begins to lead circle CCW, W turn R and lead circle
a series of 4 passes under couples’ joined hands (thread the needle), progressing around the
circle always moving CW until circle reforms. Waltz with partner until music ends.
NOTE: The leader (el tecolero) may call the figures for Part C: Cradle, Basket or Link Arms.
He may also delete one of the Serpentine figures, depending on the size of the circle and the
abilities of the dancers.
Notated by Richard Duree, 4/05
Presented by Richard Duree
Camp Hess Kramer Institute
October 30 – November 1, 2009
36
DORSET FOUR HAND REEL (England)
Learned in the mid-1970’s from Mary Judson, English dance specialist to Westwind
International Folk Ensemble.
Formation: Two couples in a line starting as follows: The two women stand back to back, and
each man stands about 6 -8 feet in front of his partner, facing her. If more than one set is to
dance, they line up beside each other, rather than end to end or randomly.
Structure: Beginning in the position described above, all dancers simultaneously progress
around a path resembling a figure eight but with three segments instead of two, ending up on the
outside if they started in the center and vice versa. (This “four-hand reel” gives the dance its
name.) They then dance a “rant” step in place. This entire process repeats four times with minor
variations, after which partners swing.
Styling: The most important stylistic element is a “dance walk” characteristic of English
Country Dance. It is a light, erect walk with the weight carried slightly forward, and is NOT
haughty or affected. The “rant” step is done with a comfortable amount of energy, and should
not appear flashy or strained.
The Reel:
All dancers simultaneously walk the reel pattern as shown below, using the following “rules of
the road”:
1
When you meet another person in the CENTER of the set, pass LEFT shoulders (and,
if giving hands, give LEFT hands).
2
When you meet another person near EITHER END of the set, pass RIGHT shoulders
(and, if giving hands, give RIGHT hands).
3
When you get to either END of the set, walk a curve around to the RIGHT and back
into the set, passing RIGHT shoulders with the first person you meet (as per rule No.
2).
Walk at a relaxed pace – 2 steps per four-beat measure of music. It takes about 4 four-beat
measures of music to get half way around the figure; thus after eight measures (32 beats) each
dancer will more or less have returned to his/her starting place.
The Reel is given 16 measures of music (64 beats), which would allow the dancers to complete
two full circuits, but they do not do this. Instead the dancers do not quite complete the second
37
Dorset Four Hand Reel -- Continued
circuit, causing the two couples to switch sides of the set and also causing the men and women to
switch so that whichever ones (men or women) began in the center of the set end up on the
outside and vice versa. (EXAMPLE: At the beginning of the dance the women are in the center.
At the end of the first reel, woman No 1 will be on the outside where man No 2 started, and man
No 2 will be in the middle where woman No. 1 started. Likewise woman No 2 will be outside
where man No 1 started, and he will be in her original inside position.) This position shift is
accomplished by moving a little more slowly the second time around the figure, and perhaps by
marking time if you get there too soon.
The Rant Step:
This dancing-in-place step uses all four beats of the measure, unlike the walking reel.
1
Jump onto both feet, right foot in front, slightly more weight on rear (left) foot.
2
Hop on rear (left) foot, transferring all weight to this foot
3
Transfer weight to front (right) foot, with a small leap in place.
4
Remain on supporting (right), and bring rear (left) foot around ready to use it as front
foot for next measure.
Next Measure: Same as this one but with opposite footwork (i.e. left is front foot).
Subsequent measures alternate between these two. After each reel, the rant step is done in place,
and it can also be used in the rapid traveling portions of the dance (3rd and 4th occurrences of the
reel.).
Sequence:
1
First reel: Walk reel starting with women in center, 16 measures, ending men in
center, without giving hands (Melody A)
2
Men rant facing each other 8 measure, as women stand in place (Melody B)
3
Men turn toward partner and both rant 8 measures (Melody B)
4
Second reel: Same as 1 except men start in center, women end in center. Also, give
hands to dancers you meet in the reel.
5
Same as 2 but women rant
6
Same as 3 but women turn to face men
7
Third reel: Same as 1 except travel with skipping step or traveling rant step. Do not
give hands. Melody A)
8
Same as 2
9
Same as 3
10
Fourth reel: Same as 4 except travel with skipping step or traveling rant step. Give
hands to dancers you meet in the reel.
11
Same as 2 but women rant
12
Same as 3 but women turn to face men
13
Swing partners until end of music.
Presented by Richard Julian
Camp Hess Kramer Institute
October 30 – November 1, 2009
38
KOSTER C’HOAD (Brittany)
Koster C’hoad, (pronounced approximately “coaster what”) is a Breton men’s line dance,
presented here as taught by Germain Hebert at Stockton, 1993.
Formation: Line of any number of dancers, side by side close and holding hands, with elbows at
sides and bent about 90 deg. Dance progresses to LEFT, like most line dances from France. The
leftmost man (the leader) often holds his shirt near the left shoulder with his (free) left hand.
Structure: The dance consists of two steps, each of which is eight beats in length (four measures
of the 2/4 music). The steps alternate: Step 1 is done four times, followed by step 2 four times,
Step 1 four times, etc. The music consists of melodies that change at the same time as the dance
changes from one step to the other.
Styling: Although the dance is a little strenuous, the styling should look relatively relaxed. The
hops never fully leave the ground and the other steps have even less bounce. In particular, the
action of beats 3,4,6, and 7 of Step 2 is snappy, but it should be done so that the upper body
bounces as little as possible. Even with relaxed styling, the dance looks harder than it is.
STEP 1: (8 beats)
1
2
3
4
5
6
7
8
Small leap onto both feet, but with most weight on left foot, moving left.
Step onto right foot, scuffing right heel, moving left. Left leg behind right, knee
slightly bent.
Hop on right, simultaneously touching ground with left toe. (Left foot is to left of
you, pointing diagonally left.)
Hop on right, this time touching left toe close in front of right foot, turned out (i.e.
left ankle points to right).
Leap onto left, simultaneously touching ground with right toe. (Right foot is
slightly to right of you, pointing diagonally right.)
Hop on left, this time touching right toe close in front of left foot, turned out (i.e.
right ankle points to left).
Leap onto right, simultaneously touching ground with left toe. (Left foot is to left
of you, pointing diagonally left.)
Same as beat 4
The dancers face at right angle to the direction of motion, except that on beats 1 & 2 they
turn slightly in direction they are progressing. Note that Beats 5 & 6 are a mirror image
of beats 3 & 4.
39
Koster C’hoad -- Continued
STEP 2: (8 beats)
1
2
3
4
5
6
7
8
Same as Beat 1 of Step 1.
Same as Beat 2 of Step 1
Step onto left foot, knees together, right knee bent 90 deg so right lower leg points
straight back.
Transfer to right foot by straightening right leg while bending left leg 90 deg both
at the waist & at the knee, so that upper left leg points horizontally forward and
lower left leg points down.
Hop on right leg, keeping left leg in same position.
Same as beat 3
Same as beat 4
Same as beat 5
Again, the dancers face at right angle to the direction of motion, except that on beats 1 &
2 they turn slightly in direction they are progressing.
Presented by Richard Julian
Camp Hess Kramer Institute
October 30 – November 1, 2009
40
Galoppa
(Italy)
This dance comes from Emilia-Romagna and has a relatively recent origin. Galoppa appeared for the
first time in the first half of 19th century as a variation to the polka, called Gallop. Today it can be found
in the region of Bologna in the valleys Savena and Reno.
Pronunciation: gah-LOHP-pah
Music:
6/8 meter, counted 1, 2
Formation:
Four couples, one behind the other in a column; couple 1 in front. W to R of M. M
takes W L hand in his R hand. Five cpl sets will work, but 6 is too many.
Meas
CD: Danze Italiane vol. 2, Band 10
Pattern
INTRODUCTION None. Start with music.
I.
1-16
II.
1-16
III.
1-8
9-16
FIGURE I - Follow the Leader
Beg with R, dance 32 walking steps, moving in any direction around the dance floor.
All the cpls follow Cpl 1.
FIGURE II - Separate and Rejoin
Beg with R, Cpl 1 casts off and dance 32 walking steps around the dance floor, all M to
L, following M1, and all W to R, following W1, ending again side by side with
partner. Head cpl must keep track of one another on the dance floor so that they reform
the column of cpls several beats before the end of the phrase to be ready for Fig III.
FIGURE III
Releasing hands, Cpl 1 dance skipping bwd on the outside of the column of cpls, M1 on
M side, W1 on W side, until they meet each other at the bottom of the set, while the
other cpls face each other, step a little apart, and form an arch with their raised and
joined hands; Cpl 1 dance (walking step can be done here instead of skipping) fwd
under arch, until they arrive again in front. Cpl 1 separates again, and dances bwd down
the outside of the set, ending at the bottom of the set.
Cpl 2 dance the same way, until they end at the bottom of the set. Note: Cpl 2 begins
on the start of the meas and even if Cpl 1 has not finished.
Repeat dance from beg (Fig I) lead by Cpl 3 and Figure III done by Cpls 3 and 4.
Repeat dance (Figs I-III) until the music changes.
41
Galoppa—continued
V.
FIGURE V (TRESCA) - Finale
Cpls space themselves freely about the floor, facing ptr, without holding hands.
Dancers move together fwd and back (M beg with fwd movement), on a CCW elliptical
trajectory, keeping the same distance between themselves, and flirting and inviting the
ptr to follow. The ellipse also shifts slowly CCW around the dance floor. Steps can be
walking or skipping, with other improvisational figures possible. M can crouch forward
a little, especially on the fwd movements. Sequence can end with M stepping with L ft
crossing in front of R and making a complete turn quickly to L to end facing ptr.
Presented by Suzanne Rocca-Butler
Camp Hess Kramer Institute
October 30 - November 1, 2009
42
HAIDE, VRUTA MEA
Aromân
Having a 7/16 rhythm it reminds the basic pattern of “Corlu” which is a general Aromanian hora.
The words of the accompanying song speak about the advice given by a young boy to his
sweetheart to follow him in marriage. “Haide, vruta mea” means “come with me, my
sweetheart.” The dance has 3 parts, each with 16 meas.
Pronunciation: HI-deh VROO-tah ME-ah
Formation:
mixed open circle with hands in V-pos
Rhythm:
7/16, counted as 3+2+2
Videotape:
Lia and Theodor Vasilescu, 25 Romanian Folk Dances 8
PATTERN
Meas
INTRODUCTION: 16 meas. No action.
1
2
3
4
5-16
5-17
1
2
3-4
5
6
7
8
9-16
PART A
Facing ctr and moving in LOD to the side, step on R (cts 1,2,3); step on L across
R (cts 4,5); step on R behind L (ct 6,7).
Facing ctr and moving RLOD, step on L (cts 1,2,3); R is raised fwd with knee
slightly bent (cts 4,5,6,7).
Facing diag R of ctr and moving in LOD, step on R (cts 1,2,3); step on L across R
(cts 4,5); step on R (cts 6,7).
Step on L across R (cts 1,2,3); leap on L across R while R is raised with knee bent
behind L (cts 4,5,6,7).
Repeat meas 1-4 three times.
PART B
Facing and moving in LOD, large step on R (cts 1,2,3); step on L (cts 4,5); step
on R next to L (cts 6,7).
Large step on L (cts 1,2,3); step on L (cts 4,5); step on L next to R (cts 6,7).
Repeat meas 1-2.
Facing ctr, step on R to R (cts 1,2,3); raise L with knee slightly bent (cts 4,5,6,7).
Facing diag L of ctr and moving in RLOD, step on L (cts 1,2,3); hop on L (cts
4,5); step on R across L (cts 6,7).
Repeat meas 6.
Step on L to L (cts 1,2,3); touch R next to L (cts 4,5,6,7).
Repeat meas 1-8.
43
Haide, Vruta Mea – Continued
1
2
3
4
5-8
9
10
11-12
13-16
PART C
Facing diag L of ctr, large bouncing step on R across L (cts 1,2,3); hop on R while
L is raised behind R with knee slightly bent (cts 4,5,6,7).
Facing diag L of ctr and moving bkwd, large step on L (cts 1,2,3); hop on L while
R is raised fwd with knee slightly bent (cts 4,5,6,7).
Step on R next to L (cts 1,2,3); step on L across R (cts 4,5,6,7).
Step on R behind L (cts 1,2,3); hop on R while L is raised fwd with knee slightly
bent (cts 4,5,6,7).
Repeat meas 1-4 with opp ftwk and direction.
Facing diag L of ctr and moving fwd, large step on R (cts 1,2,3); step on L next to
R (cts 4,5); step on R next to L (cts 6,7).
Facing diag L of ctr and moving bkwd on this direction, large step on L (cts
1,2,3); step on R next to L (cts 4,5); step on L next to R (cts 6,7).
Repeat meas 3-4.
Repeat meas 9-12 with opp ftwk and direction.
Presented by Suzanne Rocca-Butler
Camp Hess Kramer Institute
October 30 – November 1, 2009
44
Liljano Mome
(Bulgaria)
A variation of the popular Širto type of dance common throughout the Pirin-Macedonia region of
%XOJDULD7KLVYHUVLRQZDVLQWURGXFHGE\%HOþR6WDQHYIURPVarna.
Pronunciation:
lee-LYAH-noh MOH-meh
Music:
7/8 meter (SQQ)
Formation:
Mixed open circle; hands in W-pos; face LOD, wt on L.
Styling:
Light and proud.
CD: Yves Moreau Stockton Folk Dance Camp 2009, Band 9
Meas
1-8
Pattern
INTRODUCTION Instrumental music. Start with song.
I. BASIC PATTERN
1
2
3
4
5-16
Moving LOD, step on R (ct 1); step on L (ct 2); step on R (ct 3).
Step on L (ct 1); step on R (ct 2); step on L (ct 3).
Still facing LOD, step back on R (ct 1); step back on L (ct 2); step back on R (ct 3).
Facing ctr, step on L (ct 1); step on R in front of L, bringing arms down (ct 2); step on L
in place (ct 3). Note: steps moving bkwd are smaller than ones moving fwd.
Repeat meas 1-4 three more times (4 total), arms coming back up to W-pos to start the
figure.
II. VARIATION
1-2
3
4
5-8
Repeat Fig I, meas 1-2.
Facing L of ctr, step on R (ct 1); facing ctr, step on L (ct 2); step on R behind L (ct 3).
Repeat Fig I, meas 4. Note: steps moving to L are smaller than ones moving to the R.
Repeat meas 1-4.
Dance repeats from beginning, arms in W-pos.
Presented by Suzanne Rocca-Butler
Camp Hess Kramer Institute
October 30 - November 1, 2009
45
Liljano Mome—continued
LILJANO MOME Lyrics
(Bulgaria-Pirin)
// Liljano mome, Liljano
ja stani rano pri zori (2)
libeto si pregârni //
Liljana, young lady
get up early at dawn
and give your sweetheart a hug
// Ne e izlezla, Liljana
naj izlezla majka i
Ljuti si kletvi kâlneše
i na Georgi dumaše //
Liljana didn’t come out
but her mother did instead
and she moaned
and said to Georgi:
// Idi si, Georgi, idi si
Liljana bolna legnala
i ne može da stane //
Go home, Georgi
Liljana is sick in bed
and cannot get up
// Ne mi go laži, mamo ma
ja sam si Georgi ljubila (2)
za nego ke se ožena //
Don’t lie to him, mama
I’ve fallen in love with Georgi
and will marry him !
46
Valle e Qemalit
(Albania)
An Albanian performance-style dance Lee Otterholt learned from Ben Koopmanschaap.
Pronunciation: VAH-leh ay kchay-MAH-lee
Music:
4/4 meter CD: Balkan and Beyond – Stockton 2009, Band 3
Formation:
Long line facing slightly R of ctr. Palm-to-palm, hands high, elbows straight and
locked. (If this handhold is too tiresome, a high handhold might be acceptable.)
Styling:
Heroic, masculine.
Meas
Pattern
1-4
INTRODUCTION No action.
REFRAIN
1
Facing slightly R of ctr and moving to R, take a large step on R (ct 1); slowly bring L leg
up in a large arc in front (ct 2); step on the L (ct 3); step on R (ct &); step on L (ct 4).
Step on R (ct 1); step on L (ct &); step on R (ct 2); turning to face ctr, take a large step on
L twd ctr (ct 3); take a large step on R away from ctr (ct 4).
Still facing ctr and dancing in place, leap onto L, kicking R ft up under body
(ct 1); briefly touch heel of R twd ctr (ct 2); bending the knee, quickly bring it up to R
(ct &); moving to the L, step on R (ct 3); step on L (ct &); step on R (ct 4).
Turning to face ctr: step on L to L (ct 1); step on R twd ctr (ct 2); step on L away from
ctr (ct 3); touch heel of R ft twd ctr (ct 4).
2
3
4
I.
1
2
3
4
INTO THE CENTER - EAGLE
Facing and moving twd ctr, high up on balls of feet, step on R twd ctr (ct 1); step on L
behind R (ct &); step on R twd ctr (ct 2); twist lower body (but not upper body) to R to
step on L crossed in front of R (ct 3); twist lower body (but not upper body) to L to step
on R across in front of L (ct 4); repeat cts 1,&,2 with opp ftwk (cts 5,&,6). (The music for
the first figure has a six-count phrase here.)
Turning to face slightly R of ctr, leap diag to R (diag away from ctr) onto R (ct 1); repeat
with opp ftwk and direction (ct 2); take a large step diag L twd ctr on R (ct 3); turning to
face R, bring L ft up and around in front and hold it there (ct 4).
Continuing to face slightly R of ctr, briefly touch heel of L ft in front (ct 1); brush L ft
bkwd (ct 2); lift R heel from floor, raising L heel behind body (ct &); moving diag to L,
away from ctr, step back on L (ct 3); step back on R (ct &); step back on L (ct 4); step on
R to R (ct &).
Continuing to face slightly R of ctr, and now moving to R, step on L across in front of R
(ct 1); hold (ct 2); step on R to R (ct &); step on L, crossed in front of R (ct 3); step on R ft
to R (ct &); step on L ft, crossed in front of R (ct 4).
47
Valle e Qemalit—continued
II. BICYCLING LEGS
1
2
3
4
Facing diag R and moving R, step on R (ct 1); make a large “reverse bicycle movement”
(first fwd, then up, then back to beside opp knee, then down) (ct 2); walk three steps
L,R,L (ct 3,&,4); turn sharply to face L (ct &).
Continuing to move (now bkwd) to R, step on R (ct 1); step on L (ct 2); step on R,
bending R knee deeply and keeping ball of L ft on floor (ct 3); straighten R knee slightly
(not completely), continuing to keep ball of L ft on floor (ct 4).
Facing and moving to the L, step on L (ct 1); step on R (ct &); step on L (ct 2); begin
bringing R leg straight fwd, almost parallel to floor and leap on to R, kicking up L ft under
you (ct 3); large step on L (ct 4); turn to face ctr (ct &).
Facing ctr, take a large step on R twd ctr (ct 1); take a large step on L away from ctr (ct 2);
touch heel of R ft twd ctr (ct 3); touch heel of R ft diag to R (ct 4).
INTERMEZZO (once in the middle, once at the end)
1
Turning to face R, leap onto R to R (ct 1); turning to face slightly L of ctr, bring L ft
around in a CCW movement near floor and step on L twd ctr (ct 2); touch heel of R ft diag
L, crossed in front of L (ct 3); touch heel of R ft twd ctr (ct 4). (Dance ends on ct 3.)
Sequence:
(Singing starts)
(Singing)
(Singing starts)
(Singing)
(Singing starts)
(Singing)
(Singing starts)
(Singing)
Introduction (No movement)
Refrain
First figure
Second figure
Refrain
First figure
Second figure
Refrain
First figure
Second figure
Intermezzo
Refrain
First figure
Second figure
Intermezzo (Stops on ct 3. Hold.)
Presented by Suzanne Rocca-Butler
Camp Hess Kramer Institute
October 30 - November 1, 2009
48
Žensko za raka
(Macedonia)
A women’s dance from Western Macedonia with a 12-measure pattern. Originally taught by Saško
Anastasov.
Translation:
Women’s dance using hand hold.
Pronunciation: ZHEHN-skoh zah RAH-kah
Music:
2/4 meter
CD: Yves Moreau Stockton Folk Dance Camp 2009, Band 5
Formation:
Open circle. Face R of ctr, wt on L. Hands joined in W-pos.
Styling:
Slight knee bend; soft down-up movement of the body.
Meas
Pattern
1-8
INTRODUCTION No special introduction. Use the first 8 meas of music as an intro.
I. BASIC FIGURE
1
2
3
4
5
6
7
8
9
10
11
12
Facing and traveling LOD, step on R (ct 1); light lift on R raising L leg (ct 2).
Repeat meas 1, starting with L.
Two walking steps in LOD, R, L (cts 1,2).
Facing ctr, step on R (ct 1); raise L ft, knee slightly bent (ct 2).
Facing ctr, step fwd on L (ct 1); raise R ft behind L calf (ct 2).
Still facing ctr, step on R to R (ct 1); step on L across R (ct 2).
Step on R (ct 1); raise L ft (ct 2).
Facing ctr, step fwd on L (ct 1); raise R ft behind L calf (ct 2).
Facing ctr, step back on R (ct 1); raise L (ct 2).
Facing & traveling RLOD, step on L (ct 1); step on R across L (ct 2).
Facing ctr, step on L to L (ct 1); step on R behind L ft (ct 2).
Facing ctr, step on L to L (ct 1); raise R ft, bending knee (ct 2).
Repeat dance from beginning. In the final repetition, on meas 12, ct 2, slap R fwd.
Presented by Suzanne Rocca-Butler
Camp Hess Kramer Institute
October 30 - November 1, 2009
49
BEALE STREET BLUES
(Vintage)
ORIGIN:
RHYTHM:
MUSIC:
FORMATION:
STEPS:
NOTATIONS:
Richard Powers taught this sequence dance in the 1990 Stockton Folk
Dance Camp and in the 1994 Idyllwild Camp.
2/4 meter
R. Power – 1990 Stockton tape or 1994 Idyllwild tape.
Couples in a large circle, facing LOD in Skaters' position: ML, WR,
joined L hs diagonally L and joined R hs at W's R side. Partner same
steps.
American one-step tango: one step per beat.
M=man, W=woman, LOD=line of direction, RLOD=reversed line of
direction, CW=clockwise, L=left or L foot, R=right or right foot;
hs=hands, fwd=forward, ct=count, q= quick.
____________________________________________________________________
Figure Beats
Pattern
____________________________________________________________________
Castle Schottische
FIG.1: 1-8
FIG.2:
1-8
Both starting R, two-step diagonal R and two-step diagonal left and four
single steps fwd R, fwd L, etc.
Partners facing, M inside and W outside, keep L hs joined. Two-step to the
R and then two-step to L changing hs to R joined. Circle CW to change
places ending facing LOD, with 3 steps (RLR) and L touch without
weight.
Repeat mirror image of above with M starting on the R of W but with 4
step CCW turn (LRLR) ending the last R step with weight.
Skater's Tango
FIG.1: 1-16
FIG.2:
1-8
Mistletoe Hesitation & Mirror Histletoe Hesitation
Ocho: Both start with L fwd on ct. 1, then qR sweep cross front and qL
side on ct 2, R back on ct 3, qL cross front and qR close on ct 4. Repeat cts
1 & 2 but end cts 7 and 8 with R back and L back with weight.
Choreography and dance directions Copyright © 1990 Richard Powers
R&S’d and errata by Lu Sham, 10/2009
Presented by Lu Sham
Camp Hess Kramer Institute
October 30 – November 1, 2009
50
NUMERO CINCO
(Latin)
ORIGIN:
Henry "Buzz" Glass created this recreation dance and presented it in the
1966 Stockton Folk Dance Camp. He drew from social and folk dances
from the rumba, the danzón and the Jarabe. According to Wikipedia, the
danzón was a sequence dance with a set of figures, first described in Cuba
and becoming very popular in Mexico and the jarabe was a traditional
form of mariachi, noted for the mixture of meters within one song, e.g.,
Jarabe Tapatío (from Guadalajara, Jalisco) or simply jarabe, aka the
Mexican Hat Dance.
RHYTHM:
4/4 meter
MUSIC:
Numero Cinco, Tijuana Brass.
FORMATION:
Couples in a large circle, with ballroom hold and M facing out.
STYLE:
To add the high Cuban style, move to one side setting each foot down
from toe to whole foot accompanied by rotation of the hip.
NOTATIONS:
M=man, W=woman, LOD=line of direction, L=left or L foot, R=right or
right foot; hs=hands, fwd=forward, ct=count, q= quick, s=slow.
______________________________________________________________________
Figure Beats
Pattern
______________________________________________________________________
W mirror footwork throughout.
INTRODUCTION Wait 2 measures and then M step in place qL, qR, sL and mirror.
FIG.1: 1-8
Box: M qL to L side (ct 1), qR close to L (ct 2), sL fwd (cts 3, 4). qR to R
side (ct 5), qL close to R (ct 6), sR back (cts 7, 8).
9-16
Exchange: Keeping leading hs joined, M qL back away, qR in place, sL
fwd to banjo position with partner. Circle with partner to exchange places
with qR, qL and sR close in ballroom hold.
FIG.1r: 17-32
Repeat FIG.1 to return M from facing center to facing out.
FIG.2:
1-16
FIG.2r: 17-32
FIG.3:
Sideways along LOD (s-s-q-q-s): sL to L, sR close, qL apart; qR close,
sL apart; sR close, sL apart, qR close, qL apart, sR close.
Repeat FIG.2.
1-16
Heel-Toe-Toe: Partners apart face to face. ML heel fwd (ct 1), R toe (ct 2)
in place, L toe beside R (ct 3) and repeat with mirror footwork. Repeat cts
1-6. In cts 13-16, stamp qL, qR, qL and hold.
FIG.3r: 1-16
Repeat FIG.3 with opposite footwork. M starting with R heel.
As a mixer, every one moves L one place with FIG.3r.
Source: Folk Dance Camp – 1966. R&S’d and errata by Lu Sham, 10/2009
Presented by Lu Sham
Camp Hess Kramer Institute
October 30 – November 1, 2009
51
ONE-STEP TANGO
(Vintage)
ORIGIN:
RHYTHM:
MUSIC:
FORMATION:
STEPS:
NOTATIONS:
Richard Powers taught it in one of the Vintage Ballroom workshops in
1990's, arranging a number of figures to music.
2/4 meter
Any tango music, with 8-bar phrases.
Couples in a large circle, starting in semi-open ballroom hold with joint
hands pointing LOD.
American one-step tango: one step per beat.
M=man, W=woman, LOD=line of direction, RLOD=reversed line of
direction, CW=clockwise, L=left foot, R=right foot; 1st foot=ML & WR,
2nd foot= MR & WL.
____________________________________________________________________
Figure Beats
Pattern
____________________________________________________________________
FIG.1:
1-8
Promenade: Couple tango walk 4 steps in LOD, W flare to turn facing
RLOD on the 4th step. M backs and W walks 4 steps in RLOD
FIG.2:
1-8
Pomander turn: In an almost banjo position (M right shoulder
overlapping with W right shoulder) with sufficient room between the
partners to dance eye to eye, circle L in 8 steps to end up M on the inside
of the large circle facing partner.
FIG.3:
1-8
Grapevine: M starts with L to L side, then R step back, L side, R forward
while W starts with R to R side, then L step forward, R side, L back.
(Hint: turn the body so that the steps are taken without the legs in pretzel
formation). Repeat the grapevine steps.
FIG.4:
1-8
Draw: Facing partners along the large circle in scorpion position (joint
hands held curved overhead while looking down at the trailing leg), both
1st foot take a side step LOD, and draw the 2nd foot along LOD until the
heel touches the 1st foot. Repeat 2 more times. On the 7th beat, stamp the
2nd foot. On the 8th beat, both look in LOD.
Reconstruction & Dance Instruction Copyright © 1988 Richard Powers
Notes and errata by Lu Sham, 10/2009
Presented by Lu Sham
Camp Hess Kramer Institute
October 30 – November 1, 2009
52
SKATER'S TANGO/WALTZ
(Vintage)
ORIGIN:
RHYTHM:
MUSIC:
FORMATION:
STEPS:
NOTATIONS:
Richard Powers taught this sequence dance in the 1990 Stockton Folk
Dance Camp and in one of the Vintage Ballroom workshops in the 1990's.
2/4 meter
Any tango or fast (~200 bpm) waltz, with 8-bar phrases.
Couples in a large circle, facing LOD in Skaters' position: ML, WR, joint
L hs diagonally L and joint R hs at W's R side. Partner same steps.
American one-step tango: one step per beat.
M=man, W=woman, LOD=line of direction, RLOD=reversed line of
direction, CW=clockwise, L=left or L foot, R=right or right foot;
hs=hands, fwd=forward, ct=count, q= quick.
____________________________________________________________________
Figure Beats
Pattern
____________________________________________________________________
FIG.1:
1-8
Mistletoe Hesitation: Couple tango walk 4 steps in LOD, both starting L.
Check with L on ct 5; two q steps back R, L close on ct 6; R fwd and
individual half-turn CW on ct 7; L step back on ct 8. Change hand holds to
mirror Skaters' position (W on L).
FIG.2:
1-8
Mirror Mistletoe Hesitation: Walk in RLOD, both starting R, and CCW
turn to face LOD.
FIG.3:
1-16
El Ocho: Both start with L fwd on ct. 1, then qR sweep cross front and qL
side on ct 2, R back on ct 3, qL cross front and qR close on ct 4. Repeat
twice. The last time, end cts 15 and 16 with R back and L draw to a close
without weight.
Choreography & Dance Instruction Copyright © 1984 Richard Powers
R&S'd and errata by Lu Sham, 10/2009
Presented by Lu Sham
Camp Hess Kramer Institute
October 30 – November 1, 2009
53
TANGO SIMPLE (traditional mode of notation)
(A Vintage Ballroom Mixer)
ORIGIN:
RHYTHM:
MUSIC:
FORMATION:
STEPS:
NOTATIONS:
Richard Powers brought back the tango mixer with the idea of simple
party dances for everyone from Paris to the 2009 San Diego Vintage
Dance Week on the Queen Mary in Long Beach, CA. Some minor
changes have been made.
2/4 meter
Any tango music, preferable with 8-bar phrases.
Couples in a large circle, starting in ballroom hold with M facing LOD.
American one-step tango: one step per beat.
M=man, W=woman, LOD=line of direction, RLOD=reversed line of
direction, CW=clockwise, L=left foot, R=right foot.
____________________________________________________________________
Measure (2/4)
Pattern
____________________________________________________________________
1-2
M backs W in 3 steps in LOD and the couple makes a CW quarter turn in
step 4 so that ML and WR are ready to step sideways in LOD.
3-4
Grapevine: M starts with L to L side, then R step back, L side, R forward
while W starts with R to R side, then L step forward, R side, L back.
(Hint: turn the body so that the steps are taken without the legs in pretzel
formation).
5-6
In the Yale (almost banjo) position (M right shoulder overlapping with W
right shoulder) with sufficient room between the partners to dance eye to
eye, circle L in 3 steps to end up M on the outside of the large circle face
facing RLOD and W on the inside facing LOD. In step 4, the partners bid
farewell and proceed towards their respective new partners.
7-8
In 4 steps, M walks alone in RLOD to meet the next W walking in LOD
and both circle left to the beginning ballroom position.
Choreography Copyright © 2009 Richard Powers
Notes and errata by Lu Sham, 10/2009
Presented by Lu Sham
Camp Hess Kramer Institute
October 30 – November 1, 2009
54
TANGO SIMPLE (alternate mode of notation)
(A Vintage Ballroom Mixer)
ORIGIN:
RHYTHM:
MUSIC:
FORMATION:
STEPS:
NOTATIONS:
Richard Powers brought back the tango mixer with the idea of simple
party dances for everyone from Paris to the 2009 San Diego Vintage
Dance Week on the Queen Mary in Long Beach, CA. Some minor
changes have been made.
2/4 meter
Any tango music, preferable with 8-bar phrases.
Couples in a large circle, starting in ballroom hold with M facing LOD.
American one-step tango: one step per beat.
W=woman, M=man, LOD=line of direction, RLOD=reversed line of
direction, CW=clockwise, L=left foot, R=right foot.
____________________________________________________________________
Measure (2/4)
Pattern
____________________________________________________________________
1-2
W backs up LOD in 3 steps with M in tow and the couple makes a CW
quarter turn in step 4 so that ML and WR are ready to step sideways in
LOD.
3-4
Grapevine: W starts with R to R side, then L step forward, R side, L back
while M starts with L to L side, then R step back, L side, R forward. (Hint:
turn the body so that the steps are taken without the legs in pretzel
formation).
5-6
In the Yale (almost banjo) position (W right shoulder overlapping with M
right shoulder) with sufficient room between the partners to dance eye to
eye, circle L in 3 steps to end up with W on the inside of the large circle
face facing RLOD and M on the outside facing LOD. In step 4, the
partners bid farewell and proceed towards their respective new partners.
7-8
In 4 steps, W walks alone in LOD to meet the next M walking in RLOD
and both circle left to the beginning ballroom position.
Choreography Copyright © 2009 Richard Powers
Notes and errata by Lu Sham, 10/2009
Presented by Lu Sham
Camp Hess Kramer Institute
October 30 – November 1, 2009
55
BANU LE HA’IR ET HA’IR
(Israel)
This circle dance was choreographed in 2007 by Victor Gabai. Victor Gabai is better known for
his romantic couple dances, so this dance is a big departure from the norm for him. The music is
funky hip-hop and is very popular with younger Israelis.
Pronunciation: BAH-nu leh hah-EER eht hah-EER
Translation:
We Came to Light up the City
Formation:
Circle of dancers facing center. Hands move freely at sides.
Meas
4/4 meter
Introduction
Begin the dance with the lyrics
Pattern
I.
Same pattern to R and L, plus half-circles.
1
4-8
Jump lightly onto both feet, but take weight onto R (ct 1); hold (ct 2). Hands are
raised overhead with elbows slightly bent, fingers splayed. Step on L behind R (ct 3);
step in place on R (ct 4).
Repeat meas 1 with opp ftwk and direction.
Dance in a small half-circle (roughly 12:00 around to 6:00): Step on R diagonally R
and pivot slightly to R to face CCW (ct 1); step on L in front of R (ct 2). Continue
with 3 steps beg with R (cts 3, &, 4) making an arc to the R to end facing ctr. During
this meas arms are moving freely at sides.
Repeat meas 1-4 with opp ftwk and direction, but end facing CCW.
II.
Moving CCW with kicks and modified Yemenite steps. Arms swing freely at sides.
1
3-4
Kick R fwd while bouncing in place on L (ct 1); step fwd onto R (ct &); kick L fwd
while bouncing in place on R (ct 2); step fwd on to L (ct &). Repeat cts 1-2 (cts 3-4)
for a total of 4 kick-steps.
Modified Yemenite step: Jump in place on both feet (ct 1); transfer wt to L while
kicking R across in front of L (ct 2); step on R across L (ct 3). Hold (ct 4). Repeat ct
1-2 with opp ftwk and direciton.
Repeat meas 1-2, continuing to move CCW.
III.
Circle into ctr, clap, return to edge of circle; kick-steps and Yemenites
1
Two steps (R-L) while turning in place to R (cts 1, 2); three steps (R-L-R) moving
twd center (cts 3, &, 4). End with R shoulder twd ctr and clap hands twd ctr (ct &).
Two steps (L-R) while turning 1/2 turn to L (cts 1, 2); three steps (L-R-L) moving
away from center twd L shoulder (ct 3, &, 4). End facing CCW
Kick R fwd while bouncing in place on L (ct 1); step fwd onto R (ct &); kick L fwd
while bouncing in place on R (ct 2). Facing ctr, R Yemenite: step on R to R (ct 3);
step on L to L but slightly bkwd (ct &); step on R in front of L (ct 4).
Repeat meas 3 with opp ftwk and direction: two kick-steps plus a L Yemenitestep.
Repeat 1-4.
56
2
3
2
2
3
4
5-8
Banu Le Ha’ir Et Ha’ir – continued
IV
Into center and backing out.
1
Facing ctr, two steps (R-L) moving fwd twd ctr (ct 1, 2). Step fwd onto R (ct 3); step
bwd in place onto L (ct &), step bwd onto R (ct 4).
Two steps backing up (L-R), moving bkwd away from ctr (ct 1, 2). Step bwd onto L
(ct 3); step fwd in place onto R (ct &); step fwd onto L (ct 4).
2
Dance is done three times. Then repeat IV once more, during which time the music gradually
fades out. Last beat: step R foot slightly fwd while extending arms to the side and diagonally
down, palms down.
Translation of lyrics of the first time through the dance:
WE CAME TO WAKE UP THE CITY
We came to wake up the city from Haifa to Cairo
Everyone can sing
Together we'll make the wall drop
The rumor in the streets is that we have a hit
The local stuff’s ahead of the international.
From Casablanca to Jamaica they align with us.
Why wait? Accept it now!
Everyone from shore to shore and from sea to sea.
The world is so-so small.
Where the cold flowed, the rhythm is hot.
Say a word and we're here.
You don't need a ticket
There's no one screening at the door.
Here everyone's a guest of honor
There's always room for more.
Give me more, give me more.
Presented by Loui Tucker
Camp Hess Kramer Institute
October 30 – November 1, 2009
57
DAMAT HALAYI
(Edirne, Turkey)
I learned this dance from Denise Heenan. She told us that this dance was among those danced
by a group of young dancers who greeted the Trakya 2008 tour buses after crossing the border
into Turkey from Greece. Since the tour members and the dancers did not speak each other’s
language, the dancers wrote down the name of the dance. Later one of the zourna musicians
helped write the dance description. They saw this danced several times at the festive gatherings
in Edirne, Turkey. There is one pattern to this dance which has several variations as the tempo
increases. On youtube there are other variations, and some with shoulder hold.
Pronunciation: dah-MAHT ha-LAH-yee
Formation:
Open circle. While performed with a ‘pinkie’ hand hold joined in W pos,
informal video of the dance shows hands in W position and hands in V position.
Arms are not rigid, but bounce slightly during the dance.
Meas
4/4 meter
Introduction
No action. Dance starts with the drum beats.
1
2
3
4
5
6
7
8
Pattern
Moving CCW, step R (ct 1), L (ct 2), R (ct 3), touch L next to R (ct 4).
Repeat meas 1 with opposite footwork and direction.
Repeat meas 1.
Repeat meas 2.
Step R to R (ct 1), touch L next to R (ct 2). Step L to L (ct 3), touch R next to L (ct 4).
Repeat meas 5.
With weight on L, touch R fwd (ct 1), R to side (ct 2), close R to L (ct 3), hold (ct 4).
Bending at the waist and gradually raising to full height, clap 5 times (cts 1, &,2, &, 3).
Variations:
As the music gets faster, the steps become runs, and the touches become lifts and/or kicks.
Measure 7 can be seen done with jumps, or jumping into place on the last count.
Presented by Loui Tucker
Camp Hess Kramer Institute
October 30 – November 1, 2009
58
DEBKA
(Kurdish Communities)
I learned this dance from Katherine St. John, an international folk dancer who is a specialist in
Middle Eastern dance and culture. She said this dance is done throughout the Kurdish
communities in the various Middle Eastern countries where Kurds reside – Iran, Iraq, Turkey,
Syria and elsewhere, including some European countries and the United States. While lines are
typically segregated in the Middle East, men and women are more likely to dance together in
Europe and the U.S.
Pronunciation: DEHB-kah
Formation:
Open circle. Hands are joined, with upper arms touching or nearly touching,
arms bent at the elbow, and lower arms linked.
Meas
2/4 meter
Introduction
Dancers starts at will, as they join the line.
1
2
Pattern
Facing center, rock fwd on L slightly in front of R (ct 1); bend the L knee slightly (ct 2).
Facing center, rock bkwd on R slightly to R (ct 1); bounce in place on R (ct 2).
These foot movements are accompanied by a slightly undulation of the body from hips to
shoulders, bending slightly forward in meas 1 and becoming erect on meas 2. Shoulders rise and
fall slightly with the steps.
This introductory section is done while the dancers gather and join the line on the left end. At
the leader’s signal, the dance begins.
Take one prepartory step in place on L on meas 2, ct 2 so that the R foot is free to begin the
dance. Leader faces CCW, bringing his/her L hand into the small of the back while continuing
to hold the hand of the dancer next in line. R arm is straight and held diagonally forward and
down.
1
2
3
4
5
6
7
8
Facing and moving CCW, step fwd on R (ct 1); bend R knee slightly while bending the L
knee and bringing the L heel up and behind (ct 2).
Repeat meas 1 with opposite footwork, continuing to move CCW.
Repeat meas 1
Face center and place the L foot fwd without weight (ct 1); and hold (ct 2). Arms are
brought in front of the body, parallel or nearly-parallel to the ground.
Step on L in place (ct 1); kick the R fwd while bouncing on L in place (ct 2).
Bounce on L in place (ct 1) while swinging the R across in front of L (touching toe to
ground or near to ground); kick the R fwd while bouncing on L in place (ct 2).
Repeat meas 6.
Repeat meas 6. L arm bends and tucks to small of back to begin dance.
Presented by Loui Tucker
Camp Hess Kramer Institute
October 30 – November 1, 2009
59
HACHOL YIZKOR
(Israel)
This circle dance was choreographed in 2009 by Gadi Biton, one of Israel’s most prolific and
talented dance leaders and choreographers. Gadi runs weekly dance sessions in Israel attended
by 700-800 dancers, as as well as marathon dance festivals where over 1000 dance from 8:00
PM until dawn.
Pronunciation: Ha-HOHL yeez-KHOR
Translation:
The Sand Will Remember
Formation:
Circle of dancers facing and moving CCW. Hands are joined in V pos when
possible.
Meas
4/4 meter
Introduction
Begin the dance with the lyrics
Pattern
I.
Walking, grapevine, turns
1
2
Walk three steps fwd beg with R (ct 1, 2, 3); hold on ct 4.
Step L fwd crossing slightly in front of R (ct 1), hold (ct 2); step on R fwd crossing
slightly in front of L (ct 3); hold (ct 4).
Repeat meas 1-2 with opp ftwk moving CCW.
Facing center, step on R to R, (ct 1); step on L behind R (ct 2); step on R to R (ct 3);
drop handhold and pivot 1/2 to R on R to face away from center (ct 4).
Rejoin hands. Facing away from ctr, step on L to L (ct 1); step on R behind L (ct 2);
step on L to L and turn 1/4 to face CW (ct3); swing R in an arc fwd, to R, and behind,
using the movement to turn 1/2 to face CCW (ct 4).
Rejoin hands. Grapevine moving CCW: step on R to R (ct 1), step L in front of R (ct
2); R to R (ct 3); step on L behind R (ct 4).
Turn R with three steps (R-L-R) cts 1-3; step on L in front of R (ct 4)
Rejoin hands. Facing center, sway on R to R (ct 1); sway L on L (ct 2). Begin a
grapevine moving CW: step on R in front of L (ct 3); step on L to L (ct 4).
Continue the grapevine step: step on R behind L (ct 1); step on L to L (ct 2); step on
R in front of L (ct 3) step on L to L (ct 4).
Release handhold. Full turn R with three steps beg with R to R (cts 1, 2, 3); hold on ct
4. End facing center.
Turn 1¼ L with three steps (cts 1, 2, 3) beg with L to L; hold on ct 4. End with R
shoulder twd ctr.
3-4
5
6
7
8
9
10
11
12
II.
Moving toward center and back out.
1
Step on R to R (ct 1); step on L behind R (ct 2); step on R to R (ct 3). During this
ftwk, slowly raise R arm from across body at waist level in an arc in front of face to
fully extended above head. On ct 4, pivot 1/2 to R so that L shoulder is twd ctr.
Repeat meas 1, with opposite ftwk and arm movement, moving twd ctr but HOLD
and DO NOT pivot on ct 4. Remain with L shoulder twd ctr.
60
2
Hachol Yizkor – continued
3
4
5-8
Step on R in front of L (ct 1); step in place on L (ct 2); sway on R to R (ct 3); hold on
ct. 4. R arm follows movement of R ft.
Full turn L with three steps beg with L (cts 1, 2, 3), in place, ending with R shoulder
pointing away from ctr.
Repeat ftwk and arm movements of meas 1-4, but move generally away from ctr.
End facing CCW and rejoin hands down in V pos.
III.
Modified grapevine CCW and finger snaps.
1
Step fwd on R (ct 1); step fwd on L and pivot 1/2 to face CW (ct 2). Step bkwd on R
(ct 3); step bkwd on L (ct 4).
Step bkwd on R while snapping fingers to R (ct 1); hold on ct 2; step bkwd on L
while snapping finger to L [right hand above left] (ct 3); pivot 1/2 to R fo face CCW
(ct 4).
Repeat meas 1-2
Facing center, sway on R to R (ct 1), sway back onto L in place (ct 2); touch R next to
L and snap fingers in front of chest; hold (ct 4).
2
3-4
5
Presented by Loui Tucker
Camp Hess Kramer Institute
October 30 – November 1, 2009
61
Hachol Yizkor – continued
HACHOL YIZKOR
THE SAND WILL REMEMBER
Hachol yizkor et hagalim
aval laketzef ein zocher
zulat hahem asher avru
im ru'ach laiyla meacher
mizichronam hu leolam lo yimachek.
The sand will remember the waves
But the foam – will not be remembered,
Besides by those who passed
with the late night wind.
From their memory it will never be erased.
Hakol yashuv el hametzulot
zulat haketzef halavan.
nerot halayla daachu
hayedidut, haahava
haneurim shebau peta el sofam.
All will return to the depths of the sea
Except the white foam.
The candles of the night died out,
The friendship, the love,
The youth, that came to an abrupt end.
Kamohu gam al sof libam
ratat az mashehu chiver
ve'hem rashmu betoch hachol
kshehayareach haover
heyir pitom panim zarot u'schok rafe.
On the beaches of their hearts too,
Quivered then something pale
And they drew in the sand
When the passing moon
Suddenly lit a distant face and a faint laugh
Hakol yashuv el hametzulot
zulat haketzef halavan.
nerot halayla daachu
hayedidut, haahava
haneurim shebau peta el sofam.
All will return to the depths of the sea
Except the white foam.
The candles of the night died out,
The friendship, the love,
The youth, that came to an abrupt end.
Hiyu sham kunchiot reikot
Shenahamu kina shel yam
Ubit almin al hagvaot
Ushnaiym shechalfu dumam
Bein hachatzav vehak'varim
vehashikma.
There were empty shells there
That roared the lament of the sea.
And a cemetery on the hills,
And two that passed in silence,
Between the flowers and the graves
and the sycamore.
Hakol yashuv el hametzulot
zulat haketzef halavan.
nerot halayla daachu
hayedidut, haahava
haneurim shebau peta el sofam.
All will return to the depths of the sea
Except the white foam.
The candles of the night died out,
The friendship, the love,
The youth, that came to an abrupt end.
62
ROBIN DDIOG
(Wales)
A Welsh circle dance I learned from Marianne Taylor. I found a syllabus for a dance camp in
1952 led by the Hermans that shows Robin Ddiog being presented that year.
Pronunciation: RAH-bihn thee-AWG
Formation:
Open circle. Hands are joined in V pos.
Meas
2/4 meter
Introduction
No action. One long note and one short note.
1
2-3
4
5-6
7-8
9
10
11-12
13-14
Pattern
Facing and moving CCW, walk two steps CCW, R (ct 1); L (ct 2)
Repeat meas 1 twice.
Step on R fwd and turn slightly to L to face center (ct 1); step on L in place (ct 2).
Turn to the R in place with four small steps: cts 1, 2, 1, 2. End facing center.
Stamping pattern in place: R (ct 1), L (ct 2), R (ct &), L (ct 1), R (ct &), L (ct 2).
Facing center, step on L in place (ct 1); swing R foot up and across in front of L (ct 2).
Repeat meas 9 with opp ftwk and direction.
Repeat meas 9-10
Repeat stamping patter in 7-8.
Presented by Loui Tucker
Camp Hess Kramer Institute
October 30 – November 1, 2009
63
ZICHRON VAROD
(Israel)
This partner dance was choreographed in 2009 by Elad Shtamer, and is his first choroegraphy. In
his early 20s, Elad represents the next generation of Israeli dancers and choreographers. He is
also a “second-generation dancer,” being the son of Eli Shtamer who has been teaching dance
classes and organizing dance events in Northern Israel for over 30 years.
Even if you never have the opportunity to do this particular dance again, you can borrow from it
for your repertoire of freestyle waltz movements.
Pronunciation: zeeh-ROHN va-ROHD
Translation:
Rosy Memory
Formation:
Couples arranged in circles around the dance floor, all moving generally CCW.
Begin standing side by side, with L shoulder to ctr. Inside hands joined in V pos
Notes:
M and W use opp ftwk throughout dance. Movements are fluid and flow into
each other, i.e. a rotation that cannot be fully completed during one waltz can be
finished during the next.
Meas
3/4 meter
Introduction
16 meas. Begin the dance with the lyrics.
Pattern
I.
Waltz fwd, W turns, waltz together.
1
One waltz step fwd CCW, beg with outside foot. Free arms open wide to the side and
each faces slightly away from each other (W to R, M to L).
M uses 1 waltz to turn 1/2 to R and stepping in front of W while assisting W to turn L
with her waltz steps under joined (M’s R, W’s L) hands. W ends facing CCW; M
faces CW.
Join free hands (M’s L, W’s R) in V pos. M waltzes bkwd while W waltz fwd.
Maintaining the handhold, rotate as a couple 1/2 rotation CW using1 waltz step.
While rotating, couple also drifts CCW along the line of the dance. When M is again
facing CCW, he releases W’s R hand and both face CCW side by side as in the beg.
Repeat meas 1-2.
Take ballroom position. Two waltz steps making one rotation CW together. At the
end of the two waltz steps, face CCW again and take inside handhold as at the beg.
2
3
4
5-6
7-8
II
CHORUS: Waltz fwd, back, turn, waltz in place (“Woah-oh-oh”)
1
2
Waltz fwd, bringing both arms up and fwd head height.
Waltz in place: Step bkwd (ct 1); step in place with two small steps (cts 2, 3) while
turning 1/4 to face parnter. Drop inside handhold and touch palms of outside hands
(M’s L, W’s R) fwd.
Using the pressure of the joined hands to assist, turn individually fwd turning 1¼ with
1 waltz step. End side-by-side with inside hands joined in V pos, facing CCW.
1 waltz step in place.
64
3
4
Zichron Varod – continued
5-6
7-8
Repeat Part II, meas 1-2, except join M’s L W’s R hands and take ballroom pos.
Repeat Part I, meas 3-4
III.
Waltz around each other, wrapping, unwrapping, and waltzing
1
2
Repeat Part I, meas 1
W uses 1 waltz to move behind M to his L side. M uses 1
waltz step to move infront of W to his R (M and W have
switched places). M assists the W’s movement by guiding her
behind him by raising his R hand over and behind his head.
Join inside hands in V pos. Waltz fwd side-by-side beg with
inside ft
Using 1 waltz step, M guides W in front of him to his R side
by raising joined hands and allowing her to step sideways. W
waltzes to her R in front of M. M’s R hand, W’s L hand join
in front of W’s waist (“wrap” position).
Maintains this arm position while rotating in place one full
rotation CW (W dances bkwd, M dances fwd).
While dancing 1 waltz step M “unwraps” the W by raising his
L hand (still joined with her R) and allowing W to turn R. M
waltzes in place. Both hands remain joined.
Release M’s R, W’s L hand and take ballroom postion. Two waltz steps making one
rotation CW together. At the end of the two waltz steps, face CCW again and take
inside handhold.
3
4
5
6
7-8
Sequence: I, I, CHORUS, III, III, CHORUS; I, I, CHORUS, III, III, CHORUS
Presented by Loui Tucker
Camp Hess Kramer Institute
October 30 – November 1, 2009
65